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CANNED FROM THE COLLECTIONS OF 



'FA Library and Film Study Center, 

Jniversity of California, Berkeley Art Museum & Pacific Film Archive 

ampfa.berkeley.edu 



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Media History Digital 
Library 

www.mediahistoryproject.org 



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in memor>' of Carolyn Hauer 



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in 2009 with funding from 

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Photoplay Magazine — ADVEmisiNC Section 



Why so 



y some 
women look old before their time 

6s 



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JLHERE are women of forty 
who setm ten years younger. And 
there are girls of twenty-five who 
never fully enjoy the youth that 
should he theirs. In this fast 
moving era, with its ill-adjusted 
habits of health, many women 
suffer in looks from the poisons 
they themselves set up — the poi- 
sons of Auto-Intoxication. 

■f -f 

'TpRUE beauty comes from 
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face, the cast of a feature are 
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But a fine complexion every 
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Yet glance about you and see how 
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Auto-Intoxication is at the 

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NMien you mite to adyertisers please mention pnoTOPLAT MAGAZINE. 




PiiriTopr, \^ 1\I\(,\zim: -Ai)\ i i; i isivci Section 







THE GREATEST WORD 
IN ENTERTAINMENT 



IB^^imi^ 



"IFIT'S a paramount picture it's the best show in TOWN" 



Paramount Guide 
to the Best Motion Pictures 

CAeci the ones you have seen, make a date for the others and 
don't miss any! Tour Theatre Manager '.fill tell you when. 



TITLE 



PLAYERS 



DATE 



THE QUARTERBACK 



THE EAGLE OF THE SEA 



With Richard Dix and Esther Ralston. Directed 
by Fred Newmeyer. 



Florence Vidor and Ricardo Cortez. Directed 
by Frank Lloyd. 



SO'S YOUR OLD MAN Starring W. C. FIELDS. With Alice Joyce 
and Charles Rogers. Directed by Gregory 
La Cava. 



THE GREAT GATSBY Warner Baiter, Lois Wilson, Neil Hamilton, 
William Powell and Georgia Hale. Directed 
by Herbert Brenon. 



EVERYBODY'S ACTING 



BETTY BRONSON, Ford Sterling, Louise 
Dresser. Lawrence Gray, Henry Walthall and 
Raymond Hitchcock. Directed by Marshall 
Neilan. 



WERE IN THE NAVY 
NOW 



THE CANADIAN 



Wallace Beery and Raymond Hatton. Di- 
rected by Edward Sutherland. 



Starring THOMAS MEIGHAN. Directed by 
William Beaudine. 



LOVE 'EM AND 
LEAVE EM 



STRANDED IN PARIS 



Evelyn Brent, Louise Brooks, Lawrence Gray. 
Directed by Frank Tuttle. 



THE MAN OF THE 
FOREST 



Starring BEBE DANIELS. With James Hall 
and Ford Sterling. Directed by Arthur Rosson. 



THE WAITER FROM 
THE RITZ 



Jack Holt, Georgia Hale and EI Brendel. 
Directed by John Waters. 



LET IT RAIN 



Starring RAYMOND GRIFFITH. Directed 
by James Cmze. 



PARADISE FOR TWO 



Starring DOUGLAS MacLEAN. 



THE POTTERS 



Starring RICHARD DIX. With Betty Bron- 
son. Directed by Gregory La Cava. 



Starring W. C. FIELDS. Directed by Fred 
Newmeyer. 



BLONDE OR BRUNETTE 



Starring ADOLPHE MENJOU. With Greta 
Nissen and Arlette Marcbal. Directed by 
Richard Rosson. 




The Weddinp; March 

T)irected by 
and (^tarring 

Crick 
yion ^troheim 

THE thrilling story of a 
fascinating Prince who 
loved lightly and not for 
long, and of a peasant girl 
who dared to love him, told against the glamorous 
background of Vienna before the war, as only the 
amazing genius of Erich von Stroheira can picture it. 

The Rough Riders 

' "" The S^ory of a "Boy, 

a %^iment and a U^{^tion 

THE most pic- 
turesque band 
of adventurers in 
American Histor>' — 
Theodore Roosevelt's rarin', tarin' Rough Riders hves 
again in this epic of the screen. With Noah Beer\-, 
Mary Astor, Charles Farrell, Charles Emmett Mack 
and George Bancroft. A Victor Fleming Production. 
From the story by Hermann Hagedorn. 




MetropoHs 




<iA Qlimpse 
into the 
y^uture 

SKYSCRAP- 
ERS pierce 
the sky and dun- 
geons reach the 
bowels of the 
earth in this 
drama of a myth- 
ical metropolis a hundred years from now. Pictured 
with such amazing realism and with such startling 
photographic effects that it will leave you breathless. 
An UFA Production. Directed by Fritz Lang. 

ABOVE are three of many big Paramount produc- 
. tions of the coming season. The two below and 
those in the chart you can see now or very soon. Your 
Theatre Manager will tell you when. 



Harold Lloyd 

In a J\Vze; Qomedy 

HAROLD took his Fath- 
er's place as sheriff — just 
in fun — but Dad made him go 
through with it — and that 
wasn't fun, what with a feud 
on his hands! Produced by 
Harold Lloyd Corporation. 
Directed by Lewis Milestone 
and Ted Wilde. 



The Popular Sin 




1^ 

Qomedy 

of J^ove, ! 

iiM'arriage [ 

and ^ 

'Divorce ^ 



■ n 



With 
J^lorence 

Vidor 

and Three 

Juiscinating 

thinners 



FAMOUS PLAJfEBS -LASKY CORP.. ADOLPH ZUKOR.PRES. NEW YORK 



IN an atmosphere of Parisian society and back stage 
life, Malcolm St. Clair weaves a gay tale of love, 
marriage and divorce. Florence Vidor, Clive Brook, 
Greta Nissen and Philip Strange are the sinners. 
Storj- by Monta Bell. 



Every advcnlsemenl In rnOTOPLAT M.^G.\ZIXE Is guaranteed. 




J I .R. 










The World's Leading Motion Picture Publication 



PHOTOPLAY MAGAZINE 



FREDERICK JAMES SMITH 

MANAGING EHITOR 



JAMES R. QUIRK, Editor 



Vol. XXXI 



No. 2 



Contents 

January, 1927 
Cover Design: Olive Borden 

From a Painting by Carl Van Buskirk 

Brief Reviews of Current Rctures 

In Tabloid Form for Ready Reference 

As We Go to Press 

Last Minute News from East and West 

Brickbats and Bouquets 

Frank Letters from Readers 

Rotogravure: New Pictures 

Clara Bow, Jocelyn Lee, Norma Shearer, John Gilbert, 
Richard Dix, Flobelle Fairbanks 



James R. Quirk 
Agnes Smith 



10 
12 
19 

27 
28 

30 

32 
36 



Speaking of Pictures (Editorials) 
1927 According to the Stars 

The Planets See a Big Year for the Movies 

Can a Genius Be a Husband? Adela Rogers St. Johns 

There's a Ripple on the Chaplin Sea of Matrimony 

Here Are the Winners 

Prizes Awarded in Photoplay's Great Cut Picture Puzzle Contest 

Fighting the Sex Jinx Frances Clark 

The Box Office and Public Views of the Screen's Sirens 
(Contents continued on next page) 



Published monthly by the Photoplay Publishing Co. 

Publishing Office, 750 N. Michigan Ave., Chicago, III. 

Editorial Offices, 221 W. 57th St, New York City 

The iDtemailonal News Company, Ltd., Distributine Aeents. 5 Bream's Buildinj, London. EnKland 

James R. Quirk, President Robert M. Eastman. Vice-President and Treasurer 

Kathryn Dougherty. Secretary and Assistant Treasurer 

Yearly Subscription: $2.50 in the United States, its dependencies, Mexico and Cuba; 

$3.00 Canada; $3.50 to foreign countries. Remittances should be made by check, or postal 

or express money order. Caution — Do not subscribe through persons unknown to you. 

Entered as second-class matter April 24, 1912, at the Fostoffice at Chicazo, 111., under the Act of March 3, 1879. 



Photoplays Reviewed in the 
Shadow Stage This Issue 

Save this magazine — refer to 
the criticisms before you pick out 
your evening's entertainment. 
Make this your reference list. 



Page 52 

Faust. . . .UFA-Metro-Goldw>Ti-Mayer 

The Return of Peter Grimm Fox 

Everybody's Acting Paramount 



Page 53 

Hotel Imperial Paramount 

We're in the Xavy Xow . . Paramount 
Upstage Metro-GoldwATi-ilayer 



Page S4 

So's Your Old Man Paramount 

London Paramount 

Private Izzy Murphy. ■ . .Warner Bros. 

^Millionaires Warner Bros. 

The Bells Chadw-ick 

Spangles Universal 

Page 55 

Midnight Lovers First National 

Exit Smiling. . .Metro-Goldwy'n-Mayer 
The Magician. ,iMetro-Gold'\%yTi-]Mayer 
Love's Blindness 

Metro-Goldwyn-Mayer 

Syncopating Sue First National 

Red Hot Hoofs F. B. O. 



Page 126 

That Model from Paris Tiffany 

There You Are.Metro-Goldwj-n-Mayer 

His New York Wife Bachman 

The Outlaw Express Pathe 

The Pleasure Garden Ay^von 



Page 127 

College Days Tiffany 

Shameful Beha\'ior Bachman 



CopyriEht, 1926. by the PHOTOPLAY PUBLISHING COMPANY. Chicaso. 



Contents — Continued 

The Tmth About Breaking into the Movies 

Ruth Waterbury 38 
The Second of a Series of Articles by a Reporter in Hollywood as an 
"Extra" Girl 

Cinematic Art? — Here's Expert Ad\ace — Free! 40 

By Famous Unknowns 

Romance and a Hard Boiled Shirt Tom Mix 42 

It's Gone from Screenland, Says the ex-Cowboy 

Studio News and Gossip — East and West Cal York 44 

What the Screen Folk Are Doing 

Camp Fairford on the Pacific (Photographs) 48 

Amazing April ("Fiction Stor>') Faith Baldwin 49 

A Delightful Story of Ultra-modern Parents with an Old Fashioned 
Daughter lUiistiated by Connie Hicks 

The Shadow Stage 52 

The Department of Practical Screen Criticism 

Felix Learns the Black Bottom fPhotographs) 56 

He Has Ann Pennington as His Instructor 

Snatched from Slapstick Dorothy Spensley 58 

The Story of the Rise of Fay Wray 

Rotogravure: Fay Wray; Who?; Janet Gaynor 59 

The Girl Who Is Getting the Breaks Jean Millet 63 

A Red-headed "Kid" Named Janet Gaynor 

Movie "Bits" to Grand Opera Star Alfred A. Cohn 64 

Mary Lewis Once a Member of the Christie Comedy Company 

Donald Ogden Stewart's Guide to Perfect Behavior in 

Hollywood 66 

The Greatest Story in History 68 

Cecil De Mille Picturizes the Life of Christ 

Blind (Fiction Story) Michael Dean 70 

A Tinkling. Gripping Story of the Arts — Love and Music 

Illustrated by Carl Van Buskirk 

The Lark of the Month 73 

Bessie Love. Because of Her Boyish Bob. Fears She Will Have to 
Wear a Sign Revealing Her Sex Illustrated by Frank Godwin 

Buy on Fifth Avenue Through Photoplay's Shopping 

Service 74 

Photoplay's Shopping Service Will Help You with Your Ward- 
robe Problems 

The Evolution of a Kiss (Photographs) 76 

Dolores Costello (Photograph) 78 

Questions and Answers The Answer Man 81 

The Gentleman Known as Lew Dorothy Spensley 82 

Cody — He's a National Institution 

Of All the Luck! Myrtle West 84 

Helen Mundy Walks into a Store for a Soda, and Comes Out w'ith 
the Leading Role in a Picture 

Friendly Advice on Girls* Problems Carolyn Van Wyck 86 

The Department of Personal Service 

He's in Conference (Photographs) 88 

Just a Little Fella Trying to Get Along Agnes Smith 90 

Roy D'Arcy Wants to Attract Attention Before the Camera 

Why He's the Greatest Actor (Photographs) 92 

The Girl on the Cover: Olive Borden Cal York 94 

Casts of Current Photoplays 125 

Complete for Every Picture Reviewed in This Issue 

Addresses and working programs of the leading picture 
studios will be found on page 100 



!C(S»>J= 



-f-<«5)?5 



When 

Ten Cents 

teas 

Big Money 

When Richard Dix 
was a poor actor, strug- 
gling for a foot-hold 
on Broadway, he kept 
a diary. In this diary 
he recorded faithfully 
his hopes and his 
disappointments — 
and his valiant fight 
against poverty and 
discouragement. With 
Mr. Dix's permission. 

Photoplay will 

print excerpts from 
this amazing human 
document in its 

FEBRUARY 
ISSUE 



This is a story 

you won''t tvant 

to miss 



Order your copy of 
the February Photo- 
PLAY from your 
newsdealer today! 



2<a>Tt 



jr<sS>: 



i. 



Photoplay Magazine — Advertising Section 



Keith's New York Hippodrome, the world's greatest show 
house. This magnificent amusement institution is typical 
of the great theatres throughout the country featuring 

DE MILLE . METROPOLITAN PICTURES. 




A New Standard In 
Screen Entertainment 



The association of 
these personalities, 
combining theforemost 
genius in the field of 
photoplay production 
with the world's great' 
eit showmen, repres- 
ents a guaranree of sup- 
erlative entertainment. 



'T'HE high standards set by the world's 
•^ finest theatres in their selection of 
entertainment for their patrons is your 
guarantee of seeing only the best. The 
great theatres of the country, such as the 
Keith- Albee-Orpheiim and affiliated houses, set the standard. 
These theatres are more than just places of amusement. 
They are veritable community institutions and occupy an 
important and permanent niche in the civic life. The per- 
manence and stability of their position is determined by 
the class of entertainment which they purvey to the public. 
Founded by pioneers in the amusement business, they have 
stood for more than a generation as the criterion of all 
that is best in entertainment. 

Among the many photoplay productions available — it 
is signi/icant that first on the program of super 
entertainment offered at these great theatres are 
DE MILLE-METROPOLITAN PICTURES. 



COMING f^i 

DE MILLE-METROPOLITAN 
PICTURES 

ROD LA ROCQUE 

in 
"THE CRUISE of the JASPER B" 

Adapied by 

Zelda Sears and Tay Gamett 

From thcnwel by Don Marquis 

Directed by JAMES W. HORNE 

Supervised by William Sistrom 

VERA REYNOLDS 

in "CORPORAL KATE" 

With 

Julia Faye and Kenneth Thomson 

A Paul Sloane Production 

From the story by 

Zelda Sears and Marion Orth 

Scenario by Albert Shelby LeVmo 

Superiised tv C Gardner Sullivan 

Directed b PAUL SLOANE 

John C. Flinn presents 

MARIE PREVOST 

in "MAN BAIT" 

With Kenneth Thomson and 

Douglas Fairbanks, Jr. 

Adapied by Douglas Z, Doty 

From ihc stage plaj by 

Norman Houston 

Directed by DONALD CRISP 



PRODUCEKS DISTKIBUTINC COF\POKATION 

JOHN C. FLINN, Vice-President and General Manager 
When you write to ajverllsers please mention rnOTOPLAT MAGAZIXE, 



^:::hM 











Brief Revie^vs of Current Pictures 

*Indicates that photoplay was named as one of the six best upon its month of review 



ACE OF CADS, THE — Paramount. — Just missed 
being one of the six best. Metijou, Alice Joyce and 
Luther Reed's sane direction make it interesting. 
(December.) 

ACROSS THE PACIFIC— Warner Bros.— The 
old native gal was just as vampish in the days of the 
Philippine insurrection as she is today. You'll be 
bored to death. (December.) 

*ALOMA OF THE SOUTH SEAS— Paramount.— 
The startling beauty of the South Seas coupled with 
the personality of Gilda Gray and her famous wiggle 
make this a glorious experience. (July.) 

AMATEUR GENTLEMAN, THE— First Na- 
tional. — It's not Dick Barthelmess at his best — but 
who gives a hoot about story or anything else as long 
as we have Dick. (Nov.) 

*BARDELYS THE MAGNIFICENT — Metro- 

Goldwyn-Mayer.— Your season won't be complete 
unless you see this picture. It's safe enough for the 
children. John Gilbert and Eleanor Boardman head 
the cast. (Nov.) 

BATTLING BUTLER— Metro-Goldwyn-Mayer. 
— Here's an amusing number presented by Buster 
Keaton. Check this a must. (Nov.) 

*BEAU GESTE — Paramount. — Percival Wren's 
best seller has been followed with fidelity. The 
screen's best mystery story. (Nov.) 

BETTER MAN. THE— F. B. O.— Richard Tal- 
madge with his usual bag of tricks. That's all. 
(September.) 

*BETTER 'OLE, THE— Warner Bros.— Syd Chap- 
lin makes a picture which is to comedy what "The 
Big Parade" is to drama. It's the type of comedy 
that Charlie made, years ago. (December.) 

.lEVERLY OF GR AUST ARK— Metro-Gold wyn- 
Mayer. — A light, frothy, romantic piece of nonsense 
this, spiced with the presence of Marion Davies and 
Antonio Moreno. See it. (July.) 

BIGGER THAN BARNUM'S-F. B. C— Here's 
the old circus formula again. Not good enough and 
not bad enough to create a stir. (September.) 

BIG SHOW, THE— Associated Exhibitors.— Don't 
svaste your time. (July.) 

BLARNEY— Metro-Goldwyn-Mayer.-Ifitwasn't 
for Renee Adoree this certainly would be a lot of 
blarney. (December.) 

BLUE EAGLE, THE— Fox.— A fair picture. 
(Nov.) 

BORN TO THE WEST— Paramount.— Lives up 
to its name in exciting fashion without a thrill left out. 
A good Zane Grey Western. (September.) 

BREED OF THE SEA— F. B. O.— Be sure to see 
this fascinating, roman*ic and adventurous sea tale. 
(December.) 

BROADWAY GALLANT. THE— F. B. O. — A 

Richard Talmadge program picture in which his fans 
will find him at his best. (July.) 

BROKEN HEARTS OF HOLLYWOOD— War- 
ner Bros. — It's just as bad as it sounds. (December.) 

BROWN DERBY, THE— First National.— Good 
light entertainment for those who prefer the sudden 
loud laugh to the slow smile. (August.) 

*BROWN OF HARVARD — Metro-Goldwjn- 
Mayer. — College life, flip and lively, against the real 
background of Harvard College. Fine entertainment. 
(July.) 

BUCKING THE TRUTH— Universal.— A gtory 
of the great West with quite some riding and excite- 
ment. Pete Morrison is the star. (August.) 



CAMPUS FLIRT, THE— Paramount.— Not to be 
outdone by the football heroes. Bebe Daniels shows 
the feminine side of college life in a neat running suit. 
Amusing. (December.) 

CHASING TROUBLE— Universal.— Just West- 
ern hokum, (August.) 

CLINGING VINE, THE— Producers Dist. Corp. 
— A goofy plot, trite and tedious. (September.) 

COLLEGE BOOB, THE— F. B. C— Lefty Flynn, 
in a popular college football affair. It will please the 
youngsters. (October.) 

COUNTRY BEYOND, THE— Fox.— Another of 
James Oliver Curwood's stories of the great North 
makes good screen material. (December.) 

COWBOY COP. THE— F. B. C— Don't miss the 
delightful combination of Tom Tyler and Frankie 
Darro. They're good. (October.) 



AS a special service to its readers, 
Photoplay Magazine inaugu- 
rated this department of tab- 
loid reviews, presenting in brief form 
critical comments upon all photoplays 
of the preceding sLx months. 

Photoplay readers find this depart- 
ment of tremendous help — for it is an 
authoritative and accurate summary, 
told in a few words, of all current film 
dramas. 

Photoplay has always been first 
and foremost in its film reviews. 
However, the fact that most photo- 
plays do not reach the great majority 
of the country's screen theaters until 
months later, has been a manifest 
drawback. This department over- 
comes this — and shows you accurately 
and concisely how to save your mo- 
tion picture time and money. 

You can determine at a glance 
whether or not your promised eve- 
ning's entertainment is worth while. 
The month at the end of each tabloid 
indicates the issue of Photoplay in 
which the original review appeared. 



DANGEROUS DUB, THE— Associated Exhibi- 
tors. — Buddy Roosevelt does some hard, fast riding — 
with little else to recommend. O. K. for the kiddies. 
{September.) 

DEAD LINE, THE— F. B. O.— Stay home. This 
is terrible. (September.) 

*DEVIL HORSE, THE— Pathe.— A picture that is 
worth your money. A family picture — one that we 
recommend. (A ugusl.) 

DEVIL'S ISLAND— Chadwick.— At least we can 
recommend the performance of Pauline Frederick. 
The rest of the picture is the bunk. (October.) 

DIPLOMACY— Paramount.— Sardou's play had 
its face lifted by Marshall Neilan — unsuccessfullv. 
(Nov.) 

*DON JUAN— Warner Bros.— A picture that has 
great acting, thrilling melodrama and real beaut>. 
With the Vitaphone. a real film event. (October.) 



DUCHESS OF BUFFALO, THE— First National. 
— Connie Talmadge in a brisk, racy and lightly amus- 
ing farce. (October.) 

EARLY TO WED— Fox.— A light comedy of a 
young married couple which has been food for thought 
for many recent comedies. O. K. for the kiddies. 

(July.) 

ELLA CINDERS — First National. — Colleen 
Moore breaks into the movies in this enjoyable Cin- 
derella story. Take the children. (August.) 

EVE'S LEAVES — Producers Dist. Corp. — Ter- 
riblel Everyone in the cast makes a desperate attempt 
to rescue this bad comedy and hectic melodrama. A 
set of un-funny. wise-cracking sub-titles makes mat- 
ters worse. (July.) 

EXQUISITE SINNER, THE— Metro-Gold wyn.— 
A nice little comedy if taken in the spirit it is offered 
to you, (July.) 

FAMILY UPSTAIRS. THE— Fox.— Take the 
whole family to see this enjoyable picture. (October.) 

*FIG LEAVES— Fox.— A slender little story built 
around a gorgeous fashion show filmed in colors. 
Olive Borden runs away with tlie picture. (Sept.) 

FINE MANNERS— Paramount.— Gloria Swanson 
is deligiitful in one of those roles she does so perfectly 
— that of a shabbv working girl who loves devotedly. 
(October.) 

FLAME OF THE ARGENTINE, THE— F. B. O. 

— A change of scenery is about the only new thing in 
Evelyn Brent's latest. (September.) 

FLAME OF THE YUKON, THE— Prod. Dist. 
Corp. — -A magnetic story of the adventures of the gold- 
seekers in the far North. Only for the big folks. 
(August.) 

FOOTLOOSE WIDOWS— Warner Bros.— How to 
win a millionaire husband — according to the movies. 
This belongs in the "quite interesting" list. (Sept.) 

FOR ALIMONY ONLY— Producers Dist. Corp.— 
A light sophisticated domestic comedy for grown-ups. 
(December.) 

FOREVER AFTER— First National.— All the in- 
gredients of a box-office picture — sweet girl and boy 
romance, football and war. Passable. (December.) 

FOURTH COMMANDMENT, THE— Universal. 
— Cast your eagle eyes over the pictures we recom- 
mend and forget that such a thing as this was ever 
produced. (December.) 

FRONTIER TRAIL, THE— Pathe.— A red- 
blooded Western \v\th Harry Carey. If you like swift 
melodrama you are sure to like this one. (August.) 

GALLOPING COWBOY. THE— Associated Ex- 
hibitors. — If you're in the mood for a good Western — 

see this. (July.) 

GAY DECEIVER, THE— Metro-Goldwyn-Mayer. 
— Plenty of glitter of the Paris variety in this enter- 
taining piece. (Nov.) 

GENTLE CYCLONE, THE— Fox.— Not up to 
the standard of the usual Buck Jones feature. (Au- 
gust.) 

GIGOLO — Producers Dist. Corp. — Rod La 
Rocque's fine performances rescue this from the 

liokum class. (December.) 

GLENISTER OF THE MOUNTED— F. B. O.— 

Lefty Flynn in an Arthur Guy Empey story of the 
Mounted Police. The same as the other 6.462, 
(August.) 

GOOD AND NAUGHTY— Paramount.— A flip- 
pant farce comedy with Pola Negri. Ford Sterling and 
Tom Moore. Sterling steals the picture. (Augttst.) 
[ CONTINUED ON PAGE I4 1 



Photoplay Magazine — Advertising Section 




and an adequate c: 
That is the familiar phrase — but 
it is not good enough for Fox! 
Fox Pictures must be brilliantly 

cast! 

And they are! 

Fox directors are given carte 
blanche; they may choose whom- 
ever they wish; they must choose 
the very best available player for 
the role to be filled. The entire 
firmament of acting talent— with 
every player on stage and screen 
— that is the field open to Fox 
casting directors. 
And in addition — contracted 
players— the greatest group ever 
brought under one banner, are 
now engaged at the Fox Studios in 
Hollywood and New York making 
pictures for your entertainment. 
Wonderful stories — the supreme 
hits of stage and fiction; the "big- 
gest" directors; and such an array 
of players as never before graced 
any one "lot"— that is the story 
of Fox Pictures. 




WILLIAM FOX PICTURES 



When you vrrite to advertisers pleas© mention PHOTOPLAY MAGAZINE. 




-«Jfj»- 



MARY HAY BARTHELMESS joins 
husband in Paris. But the trip is not 
a second honeymoon. It is a first 
divorce. Yes, Diclt and Mary have finally 
made up their minds to make their tempo- 
rary separation a permanent one. 

■JV/TAE MURRAY and her husband, Prince 
-^•-^David Mdivani, slipped away quietly to 
Paris. No, it is not for a divorce. They 
have just been married. 

T^OROTHY MACKAILL marries Lothar 
-^-^Mendez, the German director, who re- 
cently made "The Prince of Tempters." 

HG. WELLS is going to 
• Hollywood to work on 
a scenario for Paramount. 
It will be an adaptation of 
his novel, "Marriage." 



A LBERT PARKER, now 

■^^directing "Sunya," has 
been engaged by Gloria 
Swansea for her second in- 
dependent picture. 

A ND, speaking of Gloria, 
■'^the Marquis de la Fal- 
aise is thinking of turning 
screen actor. He wants to 
be a comedian. 

BESIDES Becky Sharp 
in "Vanity Fair," Pola 
Negri is to play the cele- 
brated French actress, 
Rachel, in a drama built 
around her tragic life. 

Th'LORENCE VIDOR ar- 
-L rives in New York to 
play "Afraid to Love," with 
Frank Tuttle directing. 

"M'ORMAN KERRY may 
■^■'play male lead in Uni- 
versal's production of Edna 
Ferber's "Show Boat," star- 
ring Mary Philbin. 

TZ'ATHLYN WILLIAMS 
■*-^sails for Europe on a 
vacation. 

rilLDA GRAY'S second 
^-'Famous Players star- 
ring picture will be a story 
of New York night clubs, 
entitled "Cabaret." 

"PARAMOUNT signs Ed 
■•- Wynn, the footlight 
comedian. 

10 



"PRNST LUBITSCH finally selected to 
-'—'direct "Old Heidelberg," starring Ra- 
mon Novarro. 

"LJENRY KING about to start "King 
-*■ -'■Harlequin," with Ronald_ Colman and 
Vilma Banky in the leading roles. 

'\XT C. FIELDS doing Pa Potter in the 

'' '' • J. P. McEvoy newspaper serial, 

"The Potters." Mary Alden is Ma Potter. 

""DIG BILL" TILDEN, ex-tennis cham- 
-'-'pion, is playing a butler in the Fox pro- 
duction, "The Music Master." 



H 




Rajbun-Kkiitt-r 



This month's newlyweds — Mr. and Mrs. William 
Seiter. Mr. Seiter's father was an importer of china, 
and Laura La Plante is now the owner of a magnificent 
collection of rare china, the gift of the bridegroom's 
family 



"TTNITED ARTISTS sign the Duncan Sis- 

uZ^"^ *" '''' ^ screen version of their 

Topsy and Eva." Lois Weber will direct. 

'pHE team of WaUace Beery and Ray- 
-^ mond Hatton has been broken. Hatton 
reported dissatisfied with his role, is no 
longer with Famous, his place in "Casey at 
the Bat" bemg taken by Ford Sterling. 

"IRAM ABRAMS, president of United 
■Artists, died Nov. 15 in New York. 

fTRNEST TORRENCE'S 19-year-old son, 
-•-'Ian, takes screen test at M-G-M. 

TAMES CRUZE to direct 
J Wallace Beery in a film 
version of the musical com- 
edy, "Louie the Four- 
teenth." Beery to start 
starring in this comedy. 

rilLBERT ROLAND to 

*— 'play /Irmandto Norma 
Talmadge's Lady of the 
Camelias in "Camille." 
Fred Niblo directing. 

"IV/rONTAGU LOVE 
•'■•-'■signed to play the cen- 
turion at the foot of the 
cross in De MiUe's "The 
King of Kings." 

"JVJORMA SH5ARER not 
■*■ 'I likely to get role of Jen- 
ny Lind after all. Lillian 
Gish now mentioned for 
part of famous singer. 

GEORGE FITZMAU- 
RICE'S first production 
under his new First Na- 
tional contract to be "The 
Rose of Monterey," a story 
of early California. 

JOSEPH VON STERN- 
JBERG, maker of the ill- 
fated "The Salvation Hunt- 
ers," is still strong for sal- 
vation. Says he is going to 
do an epic of the Salvation 
Army. 

■pAMOUS PLAYERS 
-*- considering stellar pos- 
sibilities of Gary Cooper, 
now playing with Clara Bow 
in "It." 



■pjARRY CAREY playing 
•*■ ■'■a baseball catcher in 
William Haines' "Slide, 
Kelly, Slide." 



Photoplay Magazine — Advertising Section 



I I 



John Gilbert 

and 

Eleanor Boardman 




BARDELYS THE MAGNIFICENT 



MAGNIFICENT! 

EACH tense moment holds you dream-bound. 
THE crushing kisses of John Gilbert 
STOLEN between duels . . . 
FROM languid lips of fair ladies . . . 
NONE fairer than Eleanor Boardman, heroine, 
KING Vidor has painted a flaming romance 
FROM the vivid pages of Sabatini . . . 
THE director of "The Big Parade" 
THE Star of "The Big Parade" 
TOGETHER they have given the screen 
ANOTHER immortal entertainment. 



Direcred by 

King Vidor 

Adapted by 

UoRorHv Farnum 

from 

the story by 

Ra(all Sasatimi 

with 

Karl Dane 

Ko> D'Arcy 

CJeoige K. Arthur 

Artliur Lubin 




"More stars than there are in Heaven " 



Which Eyes Are 
the Keeeest? 

Blue— brown— hazel— or gray? 

Test them now and 
win these rare prizes 

WHAT color eyes really 
see motion pictures and 
what color merely look at them? 
I wonder! Here is a chance to 
test your own. For the best 
answers to my six questions, I 
have chosen these rewards. 

To the member of the fair sex 
with the' keenest eyes, I shall 
give the beautiful Dutch cap I 
wear in the "Red Mill." 

You men aren't forgot ten either. 
Owen Moore, who plays op- 
posite me in the "Red Mill", 
promises to give the most ob- 
serving man the ice-skates he 
uses in this picture. 

To the next 50 best, I will send 
my favorite picture specially 
autographed. 

Begin now — blue eyes, brown, 
hazel and gray . . . and good 
luck to vou all. 

Mariom's 
Six Questions 

Who are the wives of the following 

directors (they are all prominent 

screen actresses): Rex Ingram, King 

Vidor, Fred Niblo and Robert Z. 

Leonard? 

What recent Elinor Glyn story 
has been brought to the screen by 
Metro-Goldwyn-Mayer? 

Name and describe in not more 
than 50 words the comic strip char- 
acter which Marion Daviesis portray- 
ing in a Cosmopolitan production. 

Who IS M-G-M's new Western 
star and what unusual language 
does he usei' 

What famous Latin quotation ap- 
pears on every- M-G-M film and 
what does it mean? 

What great star appears in "The 
Temptress" and what is her native 
land? 

Write your answers on one side of 3 sin pie sheet of 
paper and mail to 3rd Floor, 1540 Broadway, 
New York. AM answers must reach us by 
January 15ch. Winner's name will be published 
in a later issue of this magazine. 
Note; — If you do not attend the picture your- 
self, you may question your friends or consult 
motion picture magazines. In the event of ties, 
each tying contestant will be awarded a prize 
identical in character with that tied for. 

Winner of the Norma Shearer 
Contest of October 

LUCIE M. WILTSHIRE 
1330 L St. N. W., Washington. D. C. 

Autographed pKtures of Miss Shearer have 
been sent to the next fifty prize winner-;. 



Wlii'u you write to advertisers please iiieiilion mOTOPLAT MAGAZINE. 



The Real Critics, the Fans, Give Their Views 




Brickbats and Bouquets 



LETTERS JTOm 
PHOTOPLAY READERS 



Three prizes are given every month 
for the best letters ^$2 5, $10 and $5 



The Monthly Barometer 

All three Brickbats and Bouquets prizes are 
awarded this month to \'alentino letters. We 
believe they are beautiful tributes to Rudy, 
and their award was inevitable, for \'alentino 
letters outnumbered all other letters received 
during the month by ten to one. They came 
from all over the globe, from men, women and 
children. 

They came on fine paper and common, and 
each expressed the devotion in which Rudy was 
held by the world. 

Rudy's death was, unquestionably, the most 
important factor to fans during the month. 
No new picture stood out more prominently. 
No other player won more attention. 

"William Boyd won second place in the let- 
ters. Barr>'more is daily becoming more firmly 
established. There is keen anricipation of 
Greta Garbo's second picture. 

But the month's mail was sorrow- weighted. 
The Great Lover is gone. 

$25.00 Letter 

Venice, Calif. 
So he is dead, who gave his magic art 

To lift from dreary- ruts our humdrum world; 
^\Tiose skillful touch could reach into the heart 

And leave its strings with lovely notes im- 
pearled 
That haunted even drfeams, harmonious 

With all that love means in reality. 
They blasphemed, they who called him "screen 
sheik." thus 

Thinking to paj'- him honor, thoughtlessly 
Acclaiming the perfect rose a common weed. 

Could they his Julio so soon forget? 
Do Beaucaire's wistful lips still vainly plead 

".\ man is jus' a name"? Banish regret — 
Because so much of beauty, grace and power 

Could go before, ah surely we shall be 
More unafraid of that di\-iding hour 

Between Time's death and Life's eternity. 
Call him the Perfect Lo\tr. not in scorn. 

For love itself is perfect, but remembering 
That since this sad old world was bom 

That God Himself has given no sweeter 
thing 
To man than love, for He Himself is Love. 

Though he seems dead, he who so freely 
gave 
So much of beauty to drab lives, above 

Somewhere, out from this early grave, 

13 



The readers of Photoplay are in- 
vited to write this department — to 
register complaints or compliments — 
to tell just what they think of pictures 
and players. We suggest that you 
express your ideas as briefly as pos- 
sible and refrain from severe per- 
sonal criticism, remembering that the 
object of these columns is to exchange 
thoughts that may bring about better 
pictures and better acting. Be con- 
structive. We may not agree with the 
sentiments expressed, but we'll pub- 
lish them just the same! Letters must 
not exceed 200 words and should 
bear the writer's full name and ad- 
dress. Anonymous letters go to the 
waste basket immediately. 



His spirit shall go winging through the years 

Triumphant to the master I-oving-Heart, 
.\nd men shall tr>' to copy through vain tears 
The matchless, living beauty of his art. 
Irene Cole M'acArthtr. 

1301 Preston Way. 

§10.00 Letter 

El Paso, Texas. 

In the silent majesty of death, Rudolph Val- 
entino passed this way for the last time. It 
was a breathlessly hot day — a desert day of 
blazing barren hills and metallic sky. and a 
stillness was over everj^hing. The tracks on 
which The Golden State Limited passes 
through the town were lined v^ith a motley 
array of cars — fli\'\-ers elbowing the luxurious 
equipages of cattle barons and oil magnates. 
At the station were little hushed groups of 
Mexicans. We, however, did not stay to see 
the train come in, preferring a last glimpse of it 
after the crowd had left. 

So. at the first long, low blast of the ap- 
proaching locomotive, we sped into the desert 
to a certain vantage point. 

Only the rattling of dried fronds of yucca 
broke the stillness as we waited there, in the 
shadow of the mesa's rim. The white silence, 
more impressive than any panoply of sable 



mourning, was like an imperative gesture from 
the Desert God of Death standing like a knight 
with arms uplifted at the gateway of the Un- 
known ^^'orld. 

At last it came, the long, mournful wail of 
the locomotive as it rolled out upon the western 
trail. For a moment the train which bore 
Valentino on his last pilgrimage was etched a 
narrow black streak against the bosom of a 
towering grey hillside; then it swept slowly 
around a great cur\e. We strained our eyes 
for a last glimpse, a last fleeting \-isuali2ation of 
him upon whom the final curtain had fallen 
with such tragic suddenness. Through a blur 
of tears we saw the swaying string of cars fade 
out through the portal of painted hills. 

"Hail and farewell. \aIentino!" one of us 
said in a husky, unsteady voice; but the hearts 
of both cried out that poignant Spanish word 
of partmg, "Adws, Rudy, adios!" 

Lel-a. Cole Kitsox, 
504 West Boulevard. 

S5.00 Letter 

Santa Cruz. CaHf. 

Valentino — he would prefer the sobriquet to 
die with him; the Sheik, for he stood far above 
that cognomen in the hearts of women patrons 
of the silver sheet. 

He was young romance, and mature dreams 
come true. He was tender, whimsical, and 
con\incing to his love-making. 

The woman from fourteen to ninety loved 
him, because he made romance come riding 
home to her in dreams. He was not the indi- 
vidual she craved, he was the sjTnbol of what 
she craved. 

His exquisite grace as he whirled into the 
sash held by his valet in the " Four Horsemen," 
is ever unforgettable and entrancing. 

He was a beauteous picture as Bcaucaire. 
Once he romped through a sailor picture with 
Dorothy Dalton like a very j-oimg boy. It was 
most refreshing. 

He was a ra\ishing prince in another picture, 
and he did a rehearsal for his last earthly ges- 
ture when he died in "Blood and Sand." Was 
there ever a toreador in all Spain who wore the 
costume as he did? 

Let us shed tears for the farewell to the king 
of romance. No one can take his place in the 
hearts of this generation. 

Lucille M.'\cDonald. 

[ CONTINUED ON PAGE l6 ] 



Photoplay Magazine — Adxehtising Section 




\ 



^ .oon, wherever you go, 
<J you 11 hear tiieni taJlang 
about these Two Jmaiir^diew Pictures J 



'The Blonde Saint'' a Film-full 
of Startling Situations 

He had threatened her Honor . . . Then he 
saved her Life. Would she learn to love her * 
Deliverer ... or keep on hating her Betrayer? 

Yesterday, a cold.'cruel Goddess . . . the far- 
famed "Saint in a Paris Gown." Today . . . 
alone on a savage island w^iih a man who 
held no woman sacred! 

Love-hate— surging terror— on an island God 
forgot! You won't have a single quiet mo- 
ment while you watch this different drama of 
a woman who had never 
known Love, and a man 
who knew it too well! 




y^r the end of a Pcrfid 
Christmas Dai/ 
-or any day 

Give Christmas Day a de- 
lightful climax. Plan to 
take your family or friends 
CO one of these famous 
successes: — 
COLLEEN MOORE 
in TWINKXETOES 
MILTON SILLS 
in 
THE SILENT LOVER 

JOHNNY MINES 
in STEPPING ALONG 
CORINNE GRIFRTH 

in 
SYNCOPATING SUE 



Barthelmess Fights and Loves 
in Far-off Lands 

The Black Sheep of a noble family— because 
he wouldn't betray his fiancee! 

In the drawing rooms of Europe a girl of 
societ}' brought him disgrace ... In the 
bazaars of the Orient a girl of the gutter 
saved him from death! 

East of Suez . . . Desert mystery . . . Treach- 
erous tribes attacking in the night . . . And 
only the Black Sheep could ward the blow 
from those who spurned him! 

You'll sit spellbound as Dick Barthelmess 
builds this film into one solid hour of slash- 
ing action— his most adven- 
turous role! 



"^ir^t national Pictured 

Take the Guesswork out of "Going to the Movies'* 

When you write to advertisers please mention PHOTOPLAY MAGAZINE. 





Photoplay Magazine — Advertising Section 



Ttiese pictures 
shoic Mr. Shtr- 
Icj/'s improre- 
ment In drair- 
Ing. Read his 
Utter. 



From Drudo'ery to 
?3800^ J' YEAR 
/o/-- DRAWING 

Just a few years ago Lloyd Shirley had a 
small-pay clerical job with no future. It 
was drudgery. He liked to draw, but could 
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Future." telling about the Federal Course. 
Mr. Shirley enrolled, studying evenings. In 
just a few months he accepted a position as 
artist for a paper company, at a better 
salary. He's been cUmbing steadily since 
■ — read his letter: 

" I feel as though my old days of drudg- 
ery were a bad dream. Now I am earning 
S3800.00 a year and I have just sUrted. 
This commercial drawing is work I love to 
do. If it bad not been for the opportunity 
of stud\-ing art in my spare time, and the 
kindly interest of the Federal faculty, I 
would never have gotten out of the rut I 
was in. The practical, thorough, short 
course I took with the Federal School 
made my success possible." 

Send for "Your Future" 

Mr. Shirley is t\*pical of hundreds of Federal Students 
who have gotten out of the rut, doubled and tripled 
their incomes in a short time. If you like to draw, and 
have a little ambition, read "Yoiir Future" and find 
out what amazing progress you 
can make trith the riijht art train- 
ing. Use the coupon now. 




School 

\ — C/of QHDincicialDesi^nlii^ — i 

345 Federal Schools Bldg.. 
Minneapolis, Minn. 

1 enclose Gc in stamps lor "Your Future." 



Brief Reviews of Current Pictures 



Present 
Age Occupation . 



Write uddrt-ss plainly in margin. 




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1 CONTIXUZD FROM P.^GE 8 ] 



GREAT DECEPTION, THE— First National.— 
This is sadly lacking in entertainment value. The 
secret- service again. {October.) 

GRE.\T K & A TRAIN ROBBERY. THE— Fox. 

— .\ fast and furious Tom Mix picture. Need more be 
said ? {December. ) 

H.\.XDS ACROSS THE BORDER— F. B. O.— 

Fred Thomson and Silver King make tliis an interest- 
ing picture. {A ugusl.) 

HELL BENT FER HEAVEN— Warner Bros.— 
Another disappointment, especially after the success 
of the stage play. Gardner James gives an inspired 
performance. (July.) 

HELL'S 400 — Fox. — It's funny — unintentionally. 
Grownups may see this if they promise not to laugh 
too loud. {July.) 

HER BIG NIGHT— Universal.-Some inside dope 

on the movies. Quite interesting. (Nov.) 

HER HONOR THE GOVERNOR— F. B. C— 

Pauline Frederick and Carroll Nye waste masterly 
performances on celluloid claptrap. Their work is 
worth seeing, but the film itself is a disappointment. 
(Oclober.) 

HER SECOND CHANCE— First National.— Not 
worth seeing. (July.) 

HIDDEN WAY. THE— .Associated Exhibitors.— 
.■\nother weepy affair that isn't worth the famous two- 
bits. iOciober.) 

HOLD THAT LION— Paramount.— The usual 
Douglas MacLean farce. Fair. {Nov.) 

HONEYMOON EXPRESS. THE— Warner Bros. 

- — Some more carrying?-on of the younger generation. 
It's not so bad. {OcCober.) 

ICE FLOOD, THE — Universal. — Don't waste any 
precious moments on this. {Nov.) 

IMPOSTOR, THE— F. B. 0.—.\ carbon copy of 
the former Evelyn Brent productions. Fair. (July.) 

INTO HER KINGDOM— First National.— Don't 
waste your money on this atrocity filled with flowery 
subtitles, stupid symbolism, bad photography and 
commonplace direction. (October.) 

ISLE OF RETRIBUTION, THE— F. B. O.— 

Lillian Rich and Robert Frazer are in the cast — if 
that means anything. Entertainment value? Fair. 
Uuly.) 

IT MUST BE LOVE— First National.— .\ light 
bit of nonsense. .A. good cast — Colleen Moore. Jean 
Hersholt and Malcolm MacGregor. (Od.) 

IT'S THE OLD .\RMY GAME— Paramount.— 
W. C. Fields is disappointing as starring material. 
His comedy — fair. {.September.) 

J.\DE CUP. THE— F. B. O. — Do you know your 
movies? Then you know what to expect from Evelyn 
Brent. It will pass. (September.) 

KICKOFF, THE— Excellent Pictures.— A splen- 
did football picture featuring George Walsh and 
Lelia Hyams. (Nov.) 

*KID BOOTS— Paramount. — Eddie Cantor brings 
a new face to the screen, .-^nd such a face! As slap- 
stick, this film is ver>' funny — and too, it has Clara 

Bow as a shining light. (December.) 

KOSHER KITTY KELLY— F. B. O.— The funni- 
est of the carbon copies of "Abie's Irish Rose." 
(December.) 

LAST FRONTIER. THE— Prod. Dist. Corp.— 
Here is another and feeble version of "The Covered 
Wagon" plot, with the long trek over the plains, the 
buffalo stampede, the rascally redskins, the battle and 
the brave young hero. (Oclober.) 

LEW TYLER'S WIVES— Preferred Pictures.— If 
vou're serious minded, this faithful screen version of 
Wallace Irwin's uncompromising story of a weak man 
whom three loved wU interest you. It's too adult for 

the children. (September.) 

LILY, THE— Fox.— The sisterly love stuff pre- 
sented in a weepy manner. Yep. Belle Bennett sobs 
throughout the entire piece. Fair. (December.) 

LOVE THIEF, THE — Universal.— The marriage 
of convenience is dressed up in royal garments with 
Norman Kerr\' and Greta Nissen in the royal robes. 
Passable, (.August.) 

LOVEY MARY— Metro-Gold wj-n-Mayer. — The 
famous "Cabbage Patch" does not provide good 
screen material. It's harmless and we'll guarantee it 
won't overtax the mentality of The Tired Business 
Fan. (.August.) 

LUCKY LADY, THE — Paramount. — Could you 
think of a better i^-ay to spend an hour than gazing at 
the fair Greta Nissen and William Collier. Jr.. forming 
the love interest in this wholly effective melodrama? 
(September.) 



MAN FOUR SQUARE. A— Fox.— A Buck Jones 
Western — which means it's a good one, (July.) 

MAN IN THE SADDLE. THE— Universal. — 

Hoot Gibson always proves himself a hero all the 
time. You can always depend on Hoot if you're in the 
mood for a Western. (September.) 

MAN OF QUALITY, A— Excellent Pictures.— A 
good mystery yarn with George Walsh. (December.) 

♦MANTRAP- Paramount. — Clara Bow's excellent 
performance makes the film version of Sinclair Lewis' 
latest novel good entertainment. (September.) 

♦MARRIAGE CLAUSE, THE— Universal.— One 
of the most appealing stories of life across the foot- 
lights. BiUie Dove gives a splendid performance. 
(August.) 

MARRIAGELICENSE?— Fox— The tear ducts 

will be let loose in this weepy affair. .■Mma Rubens' 
performance is worth seeing. (Ncv.) 

MEET THE PRINCE— Producers Dlst. Corp.— 
Not much of a picture, this. Don't waste your time. 
(September.) 

*MEN OF STEEL — First National,— Don't miss 
this interesting picture that has the sweeping back- 
ground of a huge steel mill in operation. It is a whole 
picture of good performances. (September.) 

MICHAEL STROGOFF— Universal.— A spec- 
tacular Russian importation that cannot be compared 
with the recent successful foreign pictures. Passable. 
(Nov.) 

MIDNIGHT KISS, THE— Fox.— .\ nice little 
movie with a nice little plot well enacted by a nice 
little cast. (Oclober.) 

MISMATES — First National. — The cast is the 
onlv interesting thing: Doris Kenyon. Warner Bax- 
ter and May Allison. The storj' is the bunk. (Oct.) 

MISS NOBODY — First National. — Another ex- 
ample of a good itorj' gone wrong. If you can think 
of anything else to do, pass this up. (-4 ugusl.) 

*MLLE. MODISTE — First National. — Some wise- 
cracking sub-titles and the excellent work of Corinne 
Griffith and Willard Louis make this one of the most 
entertaining pictures of the month. (July.) 

MONEY TALKS — Metro-Goldwyn-Mayer. — 

Slapstick at its best — a la Syd Chaplin stile. It's 
fluffy, but lots of fun. (July.) 

MORAN OF THE MOUNTED— Rayart.— The 

title tells the story. Reed Howes makes it quite 
interesting, (October.) 

MORE PAY LESS WORK— Fox.— Splendid en- 
tertainment. Need more be said? (September.) 

MY OFFICIAL WIFE — Warner Bros.— Terrible 

cheap sex stuff — we don't even recommend it for the 
older folks. (December.) 

MYSTERY CLUB, THE— Universal.— If you like 
your mo\ies thrilling and chilling don't overlook this. 
(December.) 

*NERVOUS WRECK, THE— Producers Dist. 
Corp, — The easiest way to spend an evening. Thor- 
oughly amusing. (Nov.) 

NO MAN'S GOLD— Fox.— .\ good Tom Mix pic- 
ture — what more could be said? (Oclober.) 

OH, BABY— Universal. — A lot of fun for every- 
body. (October.) 

OLD LOVES FOR NEW— First National,— Fair 
entertainment, if you like desert stuff, but nothing to 
cause a rush of adjectives to the type^vriter. (July.) 

OLD SOAK, THE — Universal.— .■\ not her succes&- 
ful stage play gone wTong — in fact ruined. (July.) 

*ONE MINUTE TO PLAY— F. B. O.— Red Grange 
is a real screen personality in this football picture — 
the verv spirit of youth and good sport. It's a gem. 
(October.) 

OTHER WOMEN'S HUSBANDS — Warner 
Bros, — .A thoroughly amusing and clever domestic 
comedy well directed and well acted. (July.) 

OUTSIDE THE LAW — Universal. — A reissue of a 
crook drama released many years ago. Splendid plot 
and cast. Good entertainment. (July.) 

♦PADLOCKED — Paramount. — Superior entertain- 
ment. Honest, mature drama, in its presentation of 
a young girl's life nearly ruined by the severity of 
hypocritical morahty. (August.) 

PALS FIRST— First National.— Don't be annoyed, 
. (October.) 

PARADISE — First National. — This isn't worth a 
dime unless you're keen about Milton Sills and 
Betty Bionson. (December.) 



Every adverllscment in PHOTOPLAY M-iGAZIXE is guaranteed. 



Photoplay Magazine — Advertisixg Section 



PARIS — Metro-GoIdw>'n-Mayer. — Leave before 
the last reel and you will find this an absorbing tale of 
love. Charles Ray. Joan Crawford and Douglas Gil- 
more are in the cast. {August.) 

PARIS AT MIDNIGHT— Producers Distributing 
Corp. — An unusual theme, some nice acting and 
gorgeous sets, but the plot suffers from a loose and 
jerky continuity. Not for the children. (July,) 

PHANTOM BULLET, THE — Universal. — A 
Western that has a sure fire appeal for grownups and 
children. iJuly) 

POKER FACES— Universal.— Edward Horton, 
the director, and cast try desperately hard to be aw- 
fully funny with a disastrous result. (September.) 

PRINCE OF TEMPTERS— First National.— So 
much camera artiness that the humanncss is over- 
looked. Lya de Putti is the world's worst vamp. 
(December.) 

PUPPETS — First National. — You won't go wrong 
on this. An interesting vehicle because (and we're 
glad to say it) of the fine performance of Milton Sdl^ 
(September.) 

*0UARTERBACK, THE— Paramount.— Richard 
Dix in a real football classic. It's a WOW. (Dec.) 

RAINMAKER, THE — Paramount.— A Gerald 
Beaumont storv picfurized into splendid entertain- 
ment. William Collier, Jr.. and Georgia Hale give a 
splendid performance. (July.) 

RANSON*S FOLLY— First National.— Richard 
Barthelmess in just another movie — that's all. 
(August.) 

RAWHIDE — Associated Exhibitors.— .Ml the in- 
predients of a rip-roaring Western — fast action, a love 
story and a likeable star— Buffalo Bill, Jr. (July.) 

RISKY BUSINESS— Producers Dist. Corp.— 
Trite can be marked against this one. (Nov.) 

*ROAD TO MANDALAY. THE— Metro-Goldwyn- 
Maver. — It's not the story but Lon Chaney's fine per- 
formance that puts the ginger in this cookie. (Sept.) 

ROLLING HOME — Universal.— Reginald Denny 
ahvavs manages to make an otherwise dull evening 
amusing. Lots of fun for the whole family. (July.) 

ROMANCE OF A MILLION DOLLARS. A— 

Bachman. — You'll like this — if you aront too fussy. 
(October.) 

RUNAWAY EXPRESS. THE— Universal.— 
Nothing like the good old-fashioned railroad melo- 
drama. This is worth-while., (October.) 

RUSTLER'S RANCH— Universal.— The usual 
Art Acord stuff that the children like. (August.) 

SAVAGE. THE — First National. — .\n insult to the 
human intelligence to think such a story is plausible. 
Ben L>-on and May McAvoy are in the cast. (Oct.) 

*SAY IT AGAIN — Paramount. — A grand and glori- 
ous tee-hee at all the mythical kingdom yarns. 
Good stuff. (August.) 

♦SCARLET LETTER. THE— Metro-Goldwyn- 
Mayer. — Hawthorne's classic and sombre study of 
the New England conscience has been just as som- 
berlv translated to the screen. For the older folks. 
(October.) 

SEA WOLF. THE— Producers Dist. Corp.— A 
thriller — taken from the famous Jack London story. 
It's rough and ready, as are most sea stories, but 
darned good, (September.) 

SENOR DARE-DEVIL— First National. — fntro- 
ducing Ken Ma>'nard as a First National star. Better 
than most Westerns. (September.) 

SHAMROCK HANDICAP. THE — Fox. — Trot 
yourself down to the first theater showing this if you 
want an evening's fun — and that's not blarney. 
(Jtdy.) 

SHIPWRECKED — Prod. Dist. Corp.— If you 
haven't been sleeping lately try this on your in- 
somnia. "Terrible. (Angus*.) 

SHOW-OFF. THE— Paramount.— An amusing 
study of a smart aleck. played broadly but expertly 
by Ford Sterling. (Nov.) 

♦SILENCE- Prod. Dist. Corp.— The finest melo- 
drama that the screen has shown for years. Only for 
adults. (August.) 

SILKEN SHACKLES— Warner Bros.— A splendid 
cast gone to the four winds because of a poorly de- 
veloped plot. (July.) 

♦SOCIAL CELEBRITY. A— Paramount.- Adolphe 
Menjou as an ambitious young shaver, borrows some 
clothes and becomes the toast of New York. Another 
fascinating Menjou picture. (July.) 

SOCIAL HIGHWA\'MAN, THE— Warner Bros. 
— "This purports to be a comedy but it's a tragedy and 
vice versa. Don't be annoyed. (August.) 

*SON OF THE SHEIK. THE— United Artists,— 
Rudolph Valentino's last effort before the silver 
screen. He was the old Rudy again and his work 
ranked at the top of the best performances of the 
month. Long will this picture remain in the memory 
of those fortunate enough to see it. (October.) 




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Photoplay Magazine — Ad\ertising Section 



A Chri^mas 

GIFT 

Twelve Times 

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reasons why a sub- 
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the art and industry — every 
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^SORROWS OF SATAN— Paramount.— Marie 
Corelli's novel, a shocker of thirty years ago, makes 
real old-fashioned cinema " mclodrammer." Carol 
Dempster. Adolphe Menjou and Ricardo Cortez are 
excellent. {December.) 

*SO THIS IS PARIS— Warner Bros.— Another 
I'ariation of the domestic infidelity theme presented 
by the sophisticated Ernst Lubitsch. The weakest of 
the famous director's efforts to date. {September.) 

♦SPARROWS— United Artists.— Watching the an- 
tics of Marj' Pickford and a bunch of other kids is a 
safe bet for an enjoyable evening. (.-1 ugusl.) 

SPEEDING VENUS. THE— Producers Dist. 
Corp. — Not so good. Priscilla Dean is the feminine 
interest. (Seplember.) 

SPORTING LOVER, THE— First National.— 
This might have been worse, but it doesn't seem 
possible. Just another movie. (Sepiember.) 

*STRONG MAN, THE— First National.— A gtBnd 
and glorious laugh from start to finish. If your sides 
ache, don't blame us. blame Harry Langdon. {Nov.) 

*SUBWAY SADIE— First National.— A true and 
human story of New York's underground army. 
Dorothy Mackaill is splendid. {Nov.) 

SUNNY SIDE UP— Producers Dist. Corp.- A 
concoction of a Cinderella yarn and a Pollyanna-ish 
character. Vcu guessed it — awful. {September.) 

SWEET DADDIES— First National.- The Jew- 
ishers and Irishers are at it again — and what a sweet 
comedy this is. It's worth while. {September.) 

TAKE ITjPROM ME— Universal.— The trials and 
tribulations of a department store owner are snappily 
presented by Reginald Denny. (December.) 

♦TEMPTRESS, THE— Metro-GoldwTn-Mayer.- 
The Ibanez story is forgiven and forgotten when 
Greta Garbo is in the cast. Greta is a show in herself. 
(December.) 

TEXAS STREAK, THE— Universal.— A fairly 
interesting Western with Hoot Gibson. {Nov.) 

THREE BAD MEN— Fox.— Real good entertain- 
ment—the kind the whole family can enjoy. {Oct.) 

THREE WEEKS IN PARIS— Warner Bros.— 
Matt Moore is again the sap with the result that you 
sit through a sappy picture. {August.) 

*TIN GODS — Paramount. — Tommie Meighan 
needed a good story, director and cast to prove he's 
still a good actor. Of course Renee Adoree helps to 
make this interesting. (Nov.) 

TONY RUNS WILD— Fox.— Tom Mix in an 
average Western. (July.) 

TRIP TO CHINATOWN, A— Fox.— Two reels of 
this would have been sufficient. Not worth while. 
{August.) 

TWISTED TRIGGERS— -Associated Exhibitors. 
— There is no reason why you should waste a per- 
fectly good hour on this silly nonsense. (October.) 



TWO-GUN MAN. THE— F. B. 0— Go see this 
very grand hero. Fred Thomson, and his famous 
horse. Silver King. They are a delight. {September.) 

U>JDER WESTERN SKIES— Universal.— A story 
as old as the hills where it is laid. Yep. the good old 
Western stuff. Fair. (Sepiember.) 

UNKNOWN CAVALIER, THE— First National. 
— The newest cowboy star, Ken Maynard, in a picture 
that is a decided flop. {December.) 

UNKNOWN SOLDIER, THE— Prod. Dist. Corp. 
— .A sad attempt at being another " Big Parade." It's 
funny — unintentionally. (.4 ugusl.) 

UP IN MABEL'S ROOM— Prod. Dist. Corp.— 
Laughter for all. The players — Marie Prevosl and 
Harrison Ford. (August.) 

♦VARIETY— UFA-Famous Players.— This absorb- 
ing story of vaudeville life has more popular qualities 
than any German production imported to America 
since "Passion." Emil Jannings' work is superb. 
(September.) 

♦WALTZ DREAM, THE— UFA- Metro-Gold wyn- 
Mayer. — \ gay comedy of old Vienna. If you have 
any prejudice against foreign films, make an exception 
of this one. (October.) 

WANING SEX, THE— Metro-Goldwi'n-Mayer.- 
Is woman's place in the home or in business? See 
Norma Shearer and be convinced. {December.) 

*WET PAINT — Paramount. — Raymond Griffith in 
a great film for those to whom fun is fun. (July.) 

WHISPERING WIRES— Fox.— If you have to 
borrow the money — be sure to sec this. You won't go 
wrong on our advice. (December.) 

WHOLE TOWN'S TALKING. THE— Universal. 

— Feel like laughing tonight? See this interesting 
version of the John Emerson and Anita Loos stage 
play. (October.) 

WILDERNESS WOMAN, THE— First National. 
— Mild entertainment. Chester Conklin gives an ex- 
cellent performance as a rough miner with a million. 

(July-) 

WILD HORSE STAMPEDE, THE— Universal .— 

Pass this up. It's stupid. (October.) 

WILD TO GO— F. B. 0.— Tom Tyler and 
Frankie Darro prove to be a splendid combination in 
Westerns. It's worth seeing. (July.) 

♦WINNING OF BARBARA WORTH, THE— 

United Artists. — A naturaj drama so powerful that it 
completely overshadows every living thing. A pic- 
ture worth seeing, (December.) 

WISE GUY, THE— First National.— Just for 
grownups. All about crooks who preach religion to 
cover their shady connections. Fair. (August.) 

YOU'D BE SURPRISED— Paramount.— Ray- 
mond Griffith proves that a real good murder has its 
amusing moments. (December.) 

♦YOU NEVER KNOW WOMEN— Famous Play- 
ers. — Florence Vidor's first starring vehicle will go 
over big with any audience. (October.) 



Brickbats and Bouquets 



[ CONTINUED FROM PAGE 12 ] 



Sap Censors 



Baltimore, Md. 

Censors — what havoc they wreak! The 
more I ponder on the crimes of these reformers 
the more I wonder at man's humanity to man. 

The outburst is occasioned by my recent wit- 
nessing of " \'ariety," a truly splendid film. As 
I left the theater, I silenty reviewed the factors 
contributing to its success. 

My thoughts immediately centered on the 
plot — its naked simplicity and grim note. Its 
chief characters form the eternal triangle of 
two men and a woman. We see the husband, 
swayed by passion, turn brute and kill his 
wife's lover. 

Upon returning home, I chanced to read a 
review of "Variety" and to my amazement 
discovered that the beginning of the film had 
been omitted. Now it turns out that early in 
the original film, the husband left his real wife 
and children for the wife of the present edition, 
who is thus merely his mistress. 

The irony of it all is that by cutting the film, 
the censors missed a great moral — retribution! 
The audience would then have carried away 
the lesson — as you do to others, still others will 
do to you. 



Here's to censors, may they soon be relics, 
together with long skirts and hair nets. 

Bessie Alice Traub. 

Permanent Idols 

Grand Rapids, Mich. 

It is being said, "John Gilbert will take the 
place of Valentino as the world's screen idol."' 
Impossible! John Gilbert, marvelous character 
that he is, has his permanent place in our 
hearts, but he never can take Rudy's place. 

Each truly great screen personality holds his 
own place in the movie firmament. Thomas 
Meighan, admirable, lovable, honorable, true; 
Ronald Colman. magnetic, mysterious, ro- 
mantic! Good-looking Le^^^s Stone, with his 
surprising versatility. — and many others with 
their outstanding high points of personality, — 
but who has ever taken the place of Wally 
Reid? Xo one ever can. 

And so mth Valentino. The only Rudy we 
shall ever know will be the Rudy who dwells in 
our memory. Rudy, smoldering, passionate, 
irresistible, considering no cost in the pursuit of 
his great desire, the screen's one and only great 
Sheik. Long may he Hve in our hearts! 

Evelyn Snideeman. 



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Photoplay Magazine — Advertising Section 



17 



The Age Argument 



Philadelphia. Pa. 

\Ahy is it that all our old stars are gradualU' 
disappearing from the screen? Is it that the 
directors can find no place for them because 
they are older than they were eight or ten 
years ago? 

Or is it that the stars do not care to let us see 
them after they can no longer be called 
youthful? 

But what makes me so furious is to witness 
Douglas Fairbanks' running around on a roof 
and Gloria Swanson acting silly and Anna Q. 
Nilsson and Leatrice Joy tr>-ing to look like 
men and looking like everything else but. And 
on the other hand beautiful Alice Joyce as an 
aunt in "Beau Geste," and Antonio Moreno 
with a son in "Mare Nostrum" and lovely 
Irene Rich in "Honeymoon E.xpress" as a 
mother. Compare the ages and their types of 
pictures and sec if you do not want to do the 
same, as I am asking you to do. That Leatrice 
Joy wear long hair and play mother to her 
baby, Anna play a good woman for a change, 
and Gloria have fine manners. 

Then we can say, "Pictures are getting big- 
ger and better." 

EUUETTA RODRIGO CORDOVA. 

Make-up Madness 

Boston, Mass. 

Make-up is a madness that has swept the 
motion picture world, and its people regard 
lavish experimentation with grease-paint as 
artistic development. 

Standardization is commonly regarded as 
our countr>''s gravest weakness. And make-up 
is one of the most cr>-ing of these shames. 

Practically every actor or actress on the 
screen today looks like a very new and sho\vily 
expensive doll; the kind that vulgar, newly- 
rich parents would pick out for a child. 

Eyebrows are plucked, out of every sem- 
blance of individuality. Eyes are shadowed 
with plasterings of black, mouths are crim- 
soned, and instead of looking Hke the tooth- 
some pouts of passion that their owners would 
fain have them, they are so ridiculous as to be 
comic. 

The hair! Omibally word ! Will someone 
some day be able to make American women 
understand that the curhng iron's purpose is to 
intensify naturalness? 

Possibly this over-garnishment of the face 
and head is an illusion inherited from the 
legitimate stage. Motion picture directors 
should remember that the eye of the camera is 
cruelly accurate, emphasizing too-obvious and 
too-emphatic make-up. 

To all such face fixers I urge: Go see Emil 
Jannings in "Variety." The director of that 
picture knew how to make his camera work so 
that the acting of his characters showed up as 
acting. 

Without make-up they appeared actors and 
not an exhibition of too expensive, animated, 
stereotyped dolls. 

Mary K. Stewart. 

A Clubwoman's Compliments 

Peabody, Mass. 
As motion picture chairman of the Pea- 
body Woman's Club, and as a lover of the 
drama. I have read Photoplay each month for 
several years and I send my bouquet to that 
magazine with its pages of information and its 
fair treatment of everybody. One other bou- 
quet to picture house managers. Those with 
whom I have dealt have worked in constant 
harmony with me and they assure me that nine 
out of ten managers would do the same. They 
want good clean shows, and we agree with you 
that the pubhc can have what it wants. One 
more bouquet, and a big one, in October num- 
ber on "The Secret Moral Code." Women's 
clubs need not worr>' with such a backing as is 
given by Photoplay and its supporters. 

Mrs. Susan L. Fergl'eson. 

[ CONTINUED ox PAGE 112 ] 



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Photoplay ISIacazine — Advertising Section 




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for overcoming common skin defects. 

Within a week or ten days after beginning 
to use Woodbury's, you will notice an im- 
provement in your complexion. Get a cake 
today — begin tonight the treatment your skin 
needs! 




'ff rapped in furs, against the glittering background of winter 
— men and women in love with life ..." 



Your JVoodbury Treatment for ten days 1 Not> — the new large-size trial set 



Tbe Andrew Jercens Co. 
2201 Alfred St., Cincinnati, 



Ohio 



Copyright. IQ26. by The Jndrew Jereeni Co. 



For the enclosed lOc please send me the large- 
size trial cake of Woodbury's Facial Soap, the 
Cold Cream, Facial Cream and Powder, and 
the booklet, "A Skin Vou Love to Touch." 
If you lice in Canada, address The .indrt'j; }irin\f 
Co., Limited, 220t^herbrooke Street, Perth. Ont. 



Krerr ftilvertiseinent In PHOTOPLAY MAGAZINE is guaranteed. 




Pictures 



'T'HE night before Christmas and not a stock- 
•^ ing in the house. Here Clara Bow has 
climbed on the roof to wait for Santa Claus 
only to find that she has nothing to hang 
on the chimney. Pity the poor flapper on 
Christmas Eve ! 




AYULETIDE EVE awaits her Christmas Knight. Jocelyn Lee hangs up her wreath 
happy in the thought that Santa Glaus prefers blondes. Wouldn't it be nice it 
Santa would bring this Uttle girl a nice big starring contract? 




Ruth Harriet Louise 



"V\ THO wouldn't? When Norma Shearer hangs up the Kissing License at Christmas 

** parties, strong men are trampled in the rush. That is what makes Christmas 

merry. And isn't it tough that Yuletide and mistletoe come only once a year? 




"HE year of 1926 has been just a Big Parade of successes for John Gilbert. A year 
■ ago John said that he didn't want to be a matinee idol; he wanted to be a good 
actor. And that was one New Year's resolution that was kept. 




, ND, during the year of 1926, Richard Dix has made the cleverest pictures of his 
^ career. Few stars can equal Richard's great personal popularity. And even fewer 
stars can boast of such a long list of consistently entertaining performances. 




i 



RuEsdlBall 



FLOBELLE FAIRBANKS wanted to change her name to Florence Faire, because she 
didn't want to trade on her unck's popularity. But Douglas proudly insisted that 
she keep the family name. You will see her with Gloria Swanson in "Sunya." 



Critical Eijes Qf E\?en.m^ 

Concede TKe Beeiutx^ 

Gossard Silhouettes 




^TT^NTO her feather-light Gossard step-in and gossamer up- 
-J-^ lift bandeau — then for the clinging, exaaing folds of her 
evening gown! She knows the beauty and importance of correa 
figure support — the vulgarity of the lack of it. She will dance 
the glorious evening through charmingly groomed, constantly 
poised — the most critical eye conceding the grace of her sil- 
houette, the perfect symmetry of gown and figure. 

Gossard step-ins and brassieres, whether of silk, satin, or dainty 
brocade, are so light in weight they add scarcely a few ounces to 
the wardrobe — the finest elastic inserts make them utterly 
yielding. A Gossard corsetiete will fit you wisely and well. 



The H. W. Gossard Co., Chicago, New York, San Francisco, Atlanta, Dallas, London, Toronto, Sydney, Buenos Aires 

TKg Gossard Lme of Beciutij 



Nighifitmu 



Sicp-itt 
Chvtnise 



Bltmmers 
and y^st 



W 



Hosiery 





Auihori^ nprtitniattvtt ,-^, ^-^ ^ 

wtar this hutUm. r^ | l i \ ff * m_ 

£S^--"— onau^imessv Uwvrut 

The aughntisy KnMiiig C«. O > 

z^^^""'!7 Qarmmts and nositrif 

City Staff -m1.\'- r/. • u^'AL^Oi'ti'^ti^*' rW- 



SIiaiiRlincNU Ci.irini-ntN .md lio- 
sicry Mil lit* Mvuri'J tlirougli iMir 
dirrrl f.utorv ri'prcN<*nt.nivcs. In 
tins w.i\' (»ril>- tin- I.Hfst sivi"'s nnd 
till- newesc «»f (Hir ^jrnxMils iiro 
sold. ItcsIi situk IS -iliippi-d di- 
rrt't to vou Iroin our fnttory. 



Vo 1 u m e XXXI 



The f^lational Quide to Motion 'J^ictures 



Number Two 



PHOTOPLAY 



January, 1927 



Speaking of Pictures 



By James R. Quirk 



JUST twelve years ago I visited Hollywood for the 
first time, a sprawling suburb of Los Angeles, in- 
habited by city workers and retired Iowa farmers. 

Here the motion picture was working out its destiny. 
Sunlight and possibility of year-around outdoor work 
was the magnet that drew the pioneers. Studios were 
ramshackle affairs, thrown up to permit the taking of 
interior scenes when clouds hovered. 

In a little group of wooden shacks, D. W. Griffith had 
just completed "The Birth of a Nation," and the motion 
picture left the kindergarten. 

Charlie Chaplin was throwing custard pies at Mabel 
Normand, and Roscoe Arbuckle was chasing Chester 
Conklin, Ford Sterling, and Ben Turpin for miles and 
miles through the streets of the sleepy town. 

■X^ARY PICKFORD had just come into her own 
and Adolph Zukor was offering her the fabulous 
sum of two thousand dollars a week. Colonel Selig's 
zoological studio was in full cry. Universal City was 
undreamed of. Kathlyn Williams was the supreme 
social queen. Wally Reid was playing small parts. J. 
Warren Kerrigan was the great lover of Carl Laemmle's 
forces. Helen Holmes was wrecking venerable locomo- 
tives at the rate of one a week in her thrillers. Tom 
Mix was cowboying at fifty bucks a week. Upstate 
"Bronco Billy" Anderson was grinding his Westerns 
for Essenay. Francis X. Bushman, the screen's idol; 
Wally Beery, the comedian, and Gloria Swanson, the 
three dollar a day extra girl, were working in the Chica- 
go studios of the same concern. 

Tom Ince was laying the foundation of a great for- 
tune on an original capital of a five dollar bill. He had 
just snatched Bessie Barriscale, a fine actress, from the 
stage, along with Louise Glaum, the vamp, and 
Charlie Ray, a boy actor. We had not heard of Harold 
Lloyd. 

r^OUGLAS FAIRBANKS had not yet transferred 
-'-'^his gymnasium from the stage to the screen. 
Scores of actresses and directors of 1926 fame were glad 
to get five dollars a day in any capacity. There were no 
scandals, for the picture folks had not yet become 
famous enough to make the intimate details of their 
li\es world gossip. Will H. Hays was busy with repub- 
lican politics. The censors had not yet begun to gnaw 
big chunks of celluloid. There was not a swimming pool 
nor a gold plated bath tub in the village. 



TTHE Beverly Hills were bare of picture homes. 
Aimee McPherson was back East evangelizing with 
her husband. Jazz was still unborn. Radio had not yet 
become a household pest. There were no "realtors," 
no local Kiwanis. The distant echoes of the World War 
were of much less concern than the walnut crop report. 

The retired lowans regarded the players and their 
sidewalk antics with the indifference of farmers passing 
a caravan of wandering gypsies on a backroad. 

Every picture had a villain with a heart as black as 
his moustache. Every heroine was an ingenue of spot- 
less virtue. Every hero had an open-neck shirt and a 
heart of gold. 

Skirts and hair were long and trousers narrow. 
Ladies suspended their stockings. The rolled sock 
came in later with the flapper. Dinner clothes were 
generally rented and worn only in "society" dramas. 
No one had time to learn bridge, or tennis, or golf. 

Newspaper and magazine reviews were still in the 
embryo stage. A famous author would not have been 
recognized. The director was an almost unknown 
factor to the public. C. B. De Mille had not yet made 
the bath tub a national institution. 

npHERE were no screen palaces, no symphony 
-*- orchestras, no prologues (thank the Lord) or vaude- 
ville to bolster up weak pictures. No one who read 
"Vanity Fair" would acknowledge ever having seen a 
movie. The news reel was coming and painted scenery 
was going. 

The Germans were advancing on Paris, not Holly- 
wood. England was worried about German military 
invasion, not American picture conquest. 

Mary and Charlie, and Tom, Dick and Harry ate at 
Levy's popular priced restaurant, where good beei was 
to be had, wine on pay nights. There were no big 
parties. 

They worked and lived and loved, but the newspapers 
had something bigger than their affairs on the front page. 

They had their family spats, and divorces too, just 
like other folks, but that was before they became rich 
and their personal lives became world news. 

Those were the good old days. 

'T'ODAY — Hollywood is the melting pot of the arts. 

-^ The land of promise. The Mecca of beauty. The 

world metropolis of a billion dollar industry. The 

garden of self-satisfaction. [ continued on p.\ge 113 ] 

27 




Accordin 



to 



Clap hands, here 

comes Jupiter and 

a hig year for the 

movies ! 



BANK robberies may disturb the slumber of policemen; 
European nations may make warlike and threatening 
gestures at each other; the mails may be rifled before 
arriving at the "swift completion of their appointed 
rounds"; the price of food-stuffs may soar to the clouds. 

But the planet Jupiter — dear, good old Jupiter — bv being 
exalted and posted in the Zodiacal sign of Pisces in the year 
1927 will bring a singtilar reign of prosperity and good fortune 
to the movies. 

So get out your telescope, pick out the planet Jupiter and 
give it a great, rousing cheer. For Jupiter is a friend to the 
profession; the Otto H. Kahn of the Heavens. 
Clap hands, here comes Jupiter! 

.\nd who says all this? Why, Professor Gustave Meyer, the 
most famous citizen of Hoboken, N. J. 

Professor Jleyer is something of a national figure and he has 
some shrewd astronomical calculations to his credit. He pre- 
dicted, for instance, that the year 1914 would be an unusually 
dreadful and warlike one. He calculated the tragic fall of the 

28 



late czar of Russia to a nicety. He predicted 
that the famous Elwell case in New York 
would never be solved. He has predicted 
that Prohibition won't last long. 

For these prophecies, and many more. Professor Meyer is 
affectionately known in the New York newspapers as " the seer 
of Hoboken '' and newspaper reporters consult him on all big 
stories. .\nd important men in the government read Professor 
Meyer's predictions — and gratefully, too, if one can judge by 
the framed letters from officials that cover the walls of Professor 
Meyer's office. 

Incidentally, Professor Meyer said that Rudolph Valentino 
was going to die, when ever>'one hoped for his recover^'. 

-\t the request of Photopl.w, Professor Meyer made a pre- 
diction chart especially for the movies for the year 1927 and 
brought forth big bunches of good news. 

"I am," says Professor Jleyer, "overjoyed to state that the 
planet Jupiter will be posted and exalted in the Zodiacal sign 
of Pisces. This is the sign that governs the literarj', theatrical, 
musical and screen world. I am glad to be able to say that the 
artistic and professional world will find the year of 1927 one of 
the most fortunate, successful and prosperous ever known. 

"As the Zodiacal sign of Pisces is an inventive sign, I look 
for some very radical, new inventions in the moving picture 
world. The technical scope and power of the movies will be 
greatly enlarged and improved during the coming year. 

" Managers will have an unusually prosperous jear." 

Do I hear voices of distant cheering? 

The women of the screen, says Professor Meyer, will be even 
more fortunate than the men, during 1927. It is going to be 
a great year for the girls. .-Vnd listen to the excellent reason: 

" .\s the Zodiacal sign of Libra will be ascendant and as Venus, 
the ruling planet of this sign, is posted in the Zodiacal sign of 
Capricorn, I find that the fair sex engaged in motion pictures, 
drama and vaudeville will be most unusually successful over 
their male brothers in the same field." 

Well, Venus was always a friend to the ladies. 

There wiU be new stars on the screen, even though there are 
no changes in the rulers of the Heavens. 



the 




^ As confided to Photoplay 

Lcjli ^~b)' Professor Gustave }Aeyer 

He will, says the Professor, come prominently before the public 
in a unique comedy that will be highly successful. 

As for John Gilbert, the Professor also promises him a happy 
New Year. But he finds that Gilbert is inclined to be fickie, 
changeable and independent. In spite of this independence, he 
is "too backward about going forward," as the Professor ex- 
presses it, and he should, 
for his own good, culti- 
vate more persistence 
and aggressiveness. And 
while he has many 
friends, he is not as good 
a mixer as he seems, pre- 
ferring a few friends to 
many acquaintances. 

Professor lleyer has 
never met Mr. Gilbert 
nor has he, as far .as he 
remembers, ever seen 
him on the screen. But 
it was enough for the 
Professor to know that 
Jack was born in Logan, 
Utah, on August 10, 1897. 

' CONIIXUED ON PAGE lOQ | 



"I look for some new and unexpected femi- 
nine star to be on the ascendant during the 
coming winter. And she will be a star in the 
dramatic field," Professor Meyer told me. 

"In spring or summer, there will be another 
feminine star en the as- 
cendant in the movie 
comedy field. Her work 
will parallel that of 
Mary Pickford. In 
vaudeville and drama, 
there will be a male star 
on the rise at the same 
time. 

"And," continued 
Professor Meyer, 
"speaking of Mary Pick- 
ford, this particular star 
will have a very fortu- 
nate, happy and eventful 
year. 

" Charlie Chaplin will 
also have an eventful 
year. Chaplin will be 
very prominent, in some 
way or other." 

You can make your 
bets as to the identity of 
the new stars who will 
flash across the movie 
sky. But remember that 
Professor Meyer urges 
you to be on the look out 
for two flashing young 
actresses. 

Many of the stars now- 
shining bright in the 
movie heaven are going 
to have fortunate years. 
Richard Dix, for in- 
stance. From the fact 
that Richard was born 
in St. Paul, Mirm., on 
August 18, 1895, the 
Professor promises that 
Richard is going to have 
the best year of his career. 



Professor Meyer, the Ho- 
boken Astrologer, casts the 
horoscope of the Movies 
and predicts radical inven- 
tions on the screen and a 
prosperous year ahead for 
all concerned 




29 




« 



ON \'OYAGE. Charlie came down to the dock to bid goodbye to his 
wife, Lita Grey Chaplin, and his oldest son, Charlie, Jr.. when they set 
sail on the City of Los Angeles for Honolulu. Mrs. Lillian Spicer, the 
baby's grandmother, accompanied Mrs. Chaplin, but Charlie stayed 

at home 




Can a 

enius 

be a 
Husband? 

Charlie's Second Marriage 
Going on the Rocks of 
Temperament, says Hollywood 



By 




Adela 
St. Johns 



ALL Hollywood is awaiting official news of a proposed 
divorce in the Chaplin family. 
Whether or not matters will get that far it is difficult 
to say just now, but the present separation is being 
unofficially discussed by everxbody, including some people who 
ought to know. 




The strange aloneness that always marks 
genius exists to the nth degree in Chaplin. 
He stands off from his fellow men, wistfully, 
a little sadly. You see an amazing mixture of 
egotism and humility 



What such freedom would cost Charlie Chaplin is also a 
matter of infinite speculation and though surmises as to the 
actual figures differ they all agree that it will be plenty. Which 
is as it should be, for nobody doubts that Lita Chaplin has 
done her very best since she married Charlie and if she isn't 
a superwoman that isn't her fault. 

And unless she is a superwoman, the marriage is doomed and 
was doomed from the beginning. 

It would take a superwoman to make a success of marriage 
to the one recognized genius of the | continued on pace 115 ] 




Here is the home of Charlie Chaplin. If Hollywood rumors are to be believed, it is a house divided against' itself 

31 



(TX/ere are the Winners 



Winners of 
the first, second 
and third prizes 




First, $1,500 

RUTH WALKER 

Dallas, Texas 



Second, $1,000 

VERONICA DOLAN 

Portland, Oregon 



Third, $500 

MARGARET MYERS 

Cleveland, Ohio 



PHOTOPLAY'S third cut puzzle contest is over! The win- 
ners have been decided! Here you see photographed 
the prize winning solutions selected from thousands sent 
in reply to the contest that ran in the June, July, August 
and September issues of Photoplay. Herewith you may read 
the names of the brilliant fifty whose solutions triumphed 
over aU. 

It was a great contest. Like the circus, it was bigger and 
better than ever. 
-■Kfter making the 
prize selections, two 
of the judges had to 
go away forprotracted 
vacations. They 
needed them . The 
choice was so difficult. 
So many puzzles 
came. All were so 
remarkable in origi- 
nality and workman- 
ship. Photoplay has 
held two cut puzzle 
contests prior to this, 
but still it was un- 
prepared for the high 
excellence of the work 
submitted. Every- 
one seems to have 
profited by the other 
contests. The entries 
this year were aston- 
ishingly clever and 



Here is a close-up of 
one small section of 
the judges' problem. 
Puzzles, puzzles ev- 
erywhere, all neat, all 
accurate, all clever, 
thousands from 
which to choose the 
fifty best ! 



beautiful. Thejudges were nearly submerged teneath solutions. 
Every one submitted was opened and carefully examined. 

What would have happened if some hadn't contained errors 
is impossible to imagine. What a big help Ramon Novarro was 
to the judges! That boy is the most misspelled star in the con- 
test. Twisting the "o" and the "a" in Novarro's surname 
eliminated hundreds of puzzles. Ronald Colman came next. 
So many fans put an "e" into his family name. 




$5,ooo in Pri2;es in 

Photoplay's Third 

Cut Pu2,2,le Contest 

Awarded 



The Pri2;e Winners 

First Prize $1,500 — Red and Gold 
Ckest of Dolls 

Ruth \\'alki;r 
4i:!S Holland Avenue, Dallas, Texas 

Second Prize $1,000 — ^Make-Up Tables 

Veronica Dolak 
200 Browns Avenue, Portland, Oregon 

Third Prize $500 — Treasure Chest 

Marg.aret Myers 
1 1 71 8 Browning Avenue, Cleveland, Ohio 

Fourth Prize $250 — Doll with Fan 

and Bag 

Mrs. Robert J. Lockwood 
1133 South Wellington Street, Memphis, Tenn. 

Fifth Prize $125 — Gold Key with Star 
Caricatures 

Cecil Thomson 
586 Ontario Street, Toronto, Ontario, Canada 

[ additional prize U^NXERS ON PAGE IIQ ] 





First Prize. This beautiful 
chest holds four trays of eight dolls 
each, the stars of the contest in the 
costumes of their most successful roles 



The contest revealed that Texas loves puzzles. Next to 
Texas comes Maine. ActuaU\', the answers came from all over 
the world. 

In the foreign mail were answers from Holland, China, Costa 
Rica, Cuba, Spain, Mexico, Egypt, England, India, Japan, 
China, France, Belgium and Russia. Every state in the 
United States was represented, but Texas led all the rest in 
volume of replies. And among the cities, Dallas, of that same 
state, scored with the greatest number of individual answers. 
Moreover, the first prize award went to Dallas. 

It took more than 
a month to eliminate 
the incorrect puzzles, 
the misspelled ones, 
the ones with one 
girl's bob on another 
girl's head. Every 
prize winning puzzle 
had to be one 
hundred per cent per- 
fect. Even with that 
standard, there were 
many thousands that 
were perfect. That 
was what plagued the 
judges. 

Ever>' possible type 
of presentation was 
entered. In almost 
every answer, the 
contestant had gone 
far beyond the mere 
correct neat solution 
of the cut puzzles. 



Do you see your own 
answer here? The 
contest closed, the 
puzzles have all been 
sent to New York 
hospitals. Think of 
the fun sick young- 
sters are having with 
them 



Not only were the stellar faces correctly matched, the stellar 
names correctly spelled, but nearly always there was an at- 
tempt to characterize the star represented. His favorite role 
was remembered, his favorite hobby emphasized. 

All the current vogues of the year were present in the puzzles. 
The map craze showed itself many times. The ship craze was 
represented. There were literal thousands of albums, all of 
them neat, all of them correct. There were dozens of lamp 
shades, scores of sofa cushions, boudoir dolls, baby dolls, toy 
soldiers, mechanical toys. There were parasols, ostrich fans, 
painted shawls, even old shoes, and many, many green hats! 
In some cases, the solutions were good to eat. There was a 
whole crate of oranges, each orange a starring vehicle. There 
were stars in chocolate creams. There were stars in soap. 
There were enough theaters to crowd Broadway. There were 
so many peacocks, one surmises the stars appear slightly vain 
to their fans. 

The contest revealed many clever pen and ink artists. The 
fine stitches on the dolls' clothes, the cushions and the fancy 
screens were marvels of needlework. Very charming verses 
accompanied nearlv all entries. 

The first prize of SI, 500 goes to Ruth Walker, of 4128 Hol- 
land Avenue, Dallas, Texas, for her correct answers, sent in the 
form of a Red and Gold Chest of Dolls. 

"I have lived in Te.xas aU of my life," :Miss Walker writes to 




A real treasure chest, black and gold, jewel 
packed, a parchment skull studded star 
guide. Rings, bracelets, necklaces, they all 
came from the ten-cent store, but the idea 
was worth third prize to Margaret Myers 



Here are the dressing tables Veronica Dolan built. Aren't 
they charming, each with mirror, closet space and many 
drawers packed with beauty aids? However, they don't 
put gals and gents together in the best studio dressing 



Photopl.w, "but, contrary to current fiction and popular 
opinion concerning all Texans, 1 am not a cow-girl, never in my 
life toted a gun, never saw a herd of cattle stampede, nor wore 
spurs and a big Stetson hat. Instead, my life has been a most 
ordinary one, with the usual round of school, parties, dates, 
etc. I finished High School with first honors, and, since my 
graduation from University in 1925, 1 have been employed in a 
bank." 

Until Jliss Walker reads these lines, she will not know that 
she has won the first prize. In reply to Photopl.w's telegram, 
in which it was stated that she was being considered for a prin- 
cipal prize, she said: "I cannot decide definitely what I would 
do with my prize, should I be lucky enough to receive one of 
the big ones. In my mind, I have already spent it dozens of 
times; on a car, or maybe to travel a bit, or I might even be 
sensible and invest it in Government bonds (since I've always 
had a secret longing to clip coupons)." 

The second prize of SI, 000 goes to Veronica M. Dolan, of 
400 Browns Avenue, Portland, Oregon, for her correct solu- 
tions in the form of JIake-Up Tables. Miss Dolan is twenty- 
four and she resides with her parents, iliss Dolan 
wants to become a writer, but at present she is 
employed as a stenographer in the Northwestern 
~ National Bank of Portland. 

"As my parents grow older (mother, 64 years 
old, and father, 74 years old), both of whom have 
had more than enough of sickness the past year," 
writes jMiss Dolan, "it's a big job financing every- 
thing, and so I've hoped to lessen their burden as 
well. So, besides the joy of winning for m\'self, 
two other people will be 
mighty happily sur- 
prised when I make the 
announcement at home, 
kept secret all this while. 
My goal doesn't seem so 
far away now and pos- 
sibly a much wished for 
trip can at least be 
started half-way by put- 
ting a small sum away 
for my someday visit to 
Honolulu — andwriting." 
S500, the third prize, 
is awarded to ilargaret 
Myers, of 11718 Brown- 
ing Avenue, Cleveland, 
Ohio, for her answers, 
presented in the form of 
a Treasure Chest. 

Here is what Miss 
ilyers writes: "Although 
my last year's entry 
proved unsuccessful, 
still I gained much ex- 
perience, so with a little 
more confidence I tried 
again. Searching 
through the memories of 
past days, I stole from 
Captain Kidd his 
treasure chest and used 



34 



it to symbolize my conception of the movies — romance, adventure, history and beauty. I 
surrounded the brilliant stars of the cinema with dazzling stones representing my sincere 
wishes for their bright future and also the future of the magazine which so ably supports 
them. Photoplay." 

To the thousands who sent in answers to this contest, Photoplay extends its thanks. As 
in former years, the puzzles, now that the contest is decided, will be sent to the hospitals of 
New York City for the delight of their child patients. The contest dolls, the contest toys, 
will gladden these sick youngsters, some too ill to leave their beds, some convalescent, some 
who will never recover. So your work, even though it failed to win a prize, has not been in 
vain. 

To all of you who entered the contest. Photoplay e.xtends thanks. It was flattering 
and reassuring to learn, through this medium, the strength, the [ contixued on p.age 119 ] 



A golden key, certainly, 
worth $125 to Master Cecil 
Thompson. Locked inside 
were amazing caricatures 
of the stars 




By far the loveliest 
lady of the contest. 
Pink taffeta clad, 
how vain she was! 
Her vanity bag held 
cigarettes, rouge, 
lip stick, comb, 
powder, coins, all 
star wrapped. 
Fourth prize 



The Thirty-two 

Correct 

Cut Puzzle 

Answers 

June 

Leatrice Joy 
Corinne Griffith 
Dolores Costello 
Norma Shearer 

John Barry more 
Reginald Denny 
John Gilbert 
Eugene O'Brien 

July 

Irene Rich 
Mary Astor 
Vilma Banky 
Claire Windsor 

Malcolm McGregor 
Ricardo Cortez 
Donald Keith 
Antonio Moreno 

August 

Aileen Pringle 
Florence Vidor 
Betty Bronson 
Marie Prevost 

Ramon Novarro 
Douglas MacLean 
Conrad Nagel 
Ben Lyon 

September 
Mary Philbin 
Pauline Starke 
Renee Adoree 
Viola Dana 

Huntly Gordon 
Lawrence Gray 
Ronald Colman 
Percy Marmont 

35 






Why are the sirens doomed 
for only brief reigns on the 
screen? 

By Frances Clark 



YES, Mrs. Glyn, IT is a vexatious problem. 
If you have too much IT, you are promptly put in 
your place as a brazen and obvious huzzy, with no 
ability and nothing but a lot of sex appeal. 

Hence Lya de Putti and Greta Garbo are sending up assorted 
prasers in German and the Scandinavian for the producers to 
make them good little girls. 

If }ou have too little IT, you are labeled a colorless prig, with 
a cold heart and no emotional appeal. 

Hence Alice Joyce, ]\Iay McAvoy and Lois Wilson are asking 
the managers please to throw a little temptation in their direc- 
tion. 

There is no pleasing the public in this sex business. Once you 
have established yourself as a death-dealing vamp, the public 
w ill have you in no other role. Once you have established \our- 
self as an ingenue, the public wants to keep its illusion about 
you, even after it is bored with seeing \ou on the screen. That 
is, of course, unless you prove that you are uncommordy clever. 

On the screen, the wages of sin is loud, coarse laughter. And 
the wages of virtue is the cold shoulder. Happy, then, is the 
star who is not an extreme " type." Happy is the girl who can 
stick to comedy dramas and romantic love stories. For the 
extreme t\'pes fall faster and more suddenly in popularity than 
the girls less boldly sketched by nature. 



The public quickly tires of extreme types. Exotic 
figures like Theda Bara, Betty Blythe and others 
flash suddenly across the screen — and then fade 
away. Once the curiosity of the public has been 
satisfied, the extremes of 'Vamping" pass the bor- 
der of credibility and audiences lose interest 

36 




the Sex Jinx 



Most of the quick, sensation- 
ally sudden successes are scored 
by the vamps. And the vamps 
also get the rudest awakenings. 

Lya de Putti rose to instan- 
taneous fame in "Variety." 
Her role was that of a ven' 
naughty girl. Greta Garbo es- 
tablished herself as a man-eater 
in "The Torrent." But both 
of these imported lu.xuries, al- 
though they are now swimming 
on the crest of the wave, are 
beginning to look timidly into 
the future. 

Before them lies the awful 
warning of Theda Bara, of \'a- 
leska Suratt, of Virginia Pear- 
son. They also figure that 
neither Betty Blythe nor Xita 
Naldi are now conspicuously 
prominent in the local electric 
lights. .\nd they must feel 
that the actress who is consist- 
ently and unvaryingly repre- 
sented on the screen as a sure- 
fire heart-breaker never lasts 
long. 

And there are some sound 
reasons back of this fickleness, some good psychological causes 
why too much se-'C stuff is a jinx for any actress, no matter how 
clever. 

Women will go to see a "vamp" picture for any — or all — of 
three reasons. First, for vicarious experience denied them in 
life. Second, to get helpful hints in the art of man-stealing. 
Third, to enjoy a feeling of superior virtue. 

.\nd so, any new, e.xotic figure that flashes across the screen 
is sure to have an immediate following, attracted by curiosity. 





The exaggerated Ingenue type, like the super-vamp, 

also misses out because her sweetness is beyond human 

belief. And so audiences tired of the saccharine 

comedies of Wanda Hawley 



But the same reasons that draw them to the vamps, also serve 
to repel them. 

In the first place, the "vicarious experience" thrill wears thin 
quickly because the wnu \rorr^?ii-af the screen are invariably 
shown "paying the price." And, for the average woman 
who cannot take a detached view of any story, it is no jjm 
to put j'ourself in place of a woman who is constantly 
spurned by the hero. 

In the second place, the " helpful hints on man-stealing " 
are soon found to be impractical and far-fetched. Any 
woman who has ever tried out an exotic make-up on hus- 
band, brother or boy friend, knows that she is usuaUj' merely 
told to "go and wash that stuff off her face." 

And in the third place, the "superior feeling" seldom 
gets a strong hold because screen vamps are seldom sympa- 
thetic enough or human enough to be credible. 

The men who are attracted by "vamp" pictures are 
seldom faithful followers. Men go to see them because — to 
their credit — they would rather see a pretty woman than a 
homely one. But mere beauty grows tiresome. And be- 
yond a momentary and fleeting appeal, the vamps lose out 
because most of them possess neither sentiment nor a sense 
of humor. Nor have they amiabilitj'. 

And, on the screen or off, these are the three feminine 
virtues most prized by men. 

Faced by these audience reactions, the High Priestesses 
of Sex are jinxed from the start. After they get over being 
a nine-days' wonder, they are as passe as their counterparts 
in real life. Audiences gasp at first glimpse; on second 
thought, the public decides that "there ain't no such 
animal." 

And so the Misses de Putti and Garbo would hit the 
sawdust trail before reformation [ continxjed on page 105 1 



The public will believe in virtue longer than in vice. 

But woe to the ingenue whose sincerity is challenged! 

The shadow of a love affair banished Mary Miles Min- 

ter from the delectable world of Little Nell 

37 




^hji^ Truth About 



Installment t^vo, in which our heroine forces 

the lucky break 




"Here you have me, Ruth Waterbury, as I went 
out to conquer the studios. I thought I looked 
swell. I planned to stage a couple of knockouts. 
But I learned mine was only the face that 
launched a thousand rejects" 



By Ruth Waterbury 



ipOSIXG as an unknown movie aspirant, I wenl to Holly- 
■•■ U'ood to break into movies. I had made a hel of five hundred 
dollars with my editor that 7, a reporter, could get into the 
studios, solely on my own merit. Landing in Bollywood. I was 
nearly overcome by loneliness and the consciousness that beside 
the average girl in Bollywood I was about as beautiful as a mud 
fence. I started to look for work and learned that the Bays 
organization had bottled up the casting situation. Its office, 
the Central Casting Corporation, turned vie down fiat, and said I 
couldn't get into movies. That made me angry, and I wired my 
editor I would get in, anyuiay. 

NO girl knows how desperate a thing ambition i3 until 
she gets to Hollywood. No girl knows how dreadful 
a thing it is to fear everyone until she resides in the 
film capital. Distrust, suspicion, envy, ruthlessness, 
despair, they all follow on ambition there. 

I saw it all that morning 1 started out to defy Central 
Casting's edict that I couldn't break into movies. 

As short a time as a year ago, there were many casting 
agencies in Hollywood. They were, possibly, a little vicious. 
They took ten to fifteen per cent of the e.xtra's pay check and 
held out to starving extra girls ver>' false hope. Yet they 
were interested in the extra, primarily, because through the 
extra they secured their own incomes. In those ofBces. the 
girl hunting work met moments of kindliness, specious though 
it might be, and renewed her courage. 

Today this has been swallowed up by Central Casting, where 
efijciency demands that even,'one be bright, shining and relent- 
less. Central has engineered good laws for the extras. It has 
secured them higher pay, better hours, more courteous treat- 
ment. But it has killed all hope for nearly everyone of them. 
Central is as businesslike as a time clock. The studio cast- 
ing departments are as businesslike as an April cloud. The 
extra girl today is up against an awful situation between the 
hardness of the one and the impersonal softness of the other. 

Like any other girl with Central closed to me, I could only 
fight the studios. Where could I start? The studios are 
scattered over a fifty mile radius in and about Hollywood. It 
takes several days to get around to them all. 

I went down to breakfast plotting my course. Some ten of 
the Studio club girls were in make-up. They were the happy 
ones. The others sat silent and regarded them from beneath 
their lashes. Tomorrow they might get their innings. 

You learn to take advantage of anything in Hollywood. 
I concentrated on one girl, clad in white sequins and busy eat- 
ing oatmeal. I took advantage of the fact that she was on the 
reception committee of the club and supposed, therefore, to 
extend a helping hand toward new girls. I asked her, point 
blank, to take me to whatever studio she was going. 

That was when I first glimpsed the Hollywood fear and dis- 
trust. I couldn't possibly have been a rival of that girl's. 
She was tall as I am short, fair and very beautiful. Yet I 
could see her figuring desperately how to get rid of me. She 
said she had no influence, that she was taking an eight o'clock 



Further Movie Adventures of a Girl Reporter 



.38 



Breaking into the Movies 







bus, that she'd show me the way 
to Culver City, but that she just 
really didn't know a soul in any 
studio who mattered in the least. 

But I refused to be dropped, - 
so we rushed along together 
toward the bus line. She caught 
my hand as I started to pay the 
round trip fare. 

"Never buy the round-trip 
ticket," she said. "Try to pick up 
a ride coming back. It's risky, 
but it saves you twenty cents." 

On such risks and economies 
are movie careers founded. 

"I'm going to Goldwyn's," 
she said as we were Hearing Cul- 
ver City. "You get off at De 
Mille's. It's the nicest studio. 
It would be wonderful if you 
could get in there. I wish I could 



The weary way of 
the Extra Girl, hiking 
from Studio to Studio, 
shown in a sketch map 

'*Baby certainly needs a new pair of shoes after 

doing the rounds of the studios. Mine were new 

when I started out. I completed the circuit, as 

outlined. Then look at the dam things!" 



help you, but you understand I 
can't. You get off at De Mille's. 
Here it is right here." 

She was in such a panic of fear 
that I might come with her, I 
think she would have pushed me 
off that bus, if I hadn't gone 
voluntarily. The ghastly fear 
of Hollywood! 

The De MiUe studio is a lovely 
place, a great white Colonial 
mansion, originally built by Tom 
Ince, and before it a verj' black 
negro, in plum colored livery, 
bows low and opens the door for 
you. 

The girl behind the informa- 
tion window was quarreling with 
some invisible person. She was, 
of course, a beautiful girl. Girls 

in [ CO-NTLXUED OX P.iGE Io6 ] 




This is the main entrance to the First National Studio, the newest and one of the most beautiful 
Western studios. This is the stars' doorway, but the entrance for extras — like a servants' entrance 

— is around the comer , 



39 



Cinematic Art?-Here''s 







Horace N. Kows, the Fighting Mayor of 



Pitchforks, Kansas, says: '^^'^ f"'"";^ °^ ^^^ 

' -^ screen? I he screen 

will have no future if greedy producers insist on showing scenes of 
men, women and even innocent little children eating meat. I have 
asked Mr. Ha\'s to substitute nut bread for meat-eating scenes. 
Only by making our films conform to Nature's laws can we build 
up a strong, vital race of men and women fit to be healthy, sturdv 
grandfathers and grandmothers. My slogan is: More \'itamines! 
More Art! 



Mavis, the Flapper Queen of Mortgagia, 

SbCdks' ■'•' '^"''' '^^- ^"" being a Queen. Sometimes I become 
t^ ^ ■ tired of all the formality that goes with royaltv and wish 
I had been born a movie star so that I could give all iny sinceritv to 
your Art. How different the screen might be if I had time to devote 
myself to it! But the King says "no," and I realize that my first dutv 
is to my dear, wonderful people. But how I love vour stars! Especially 
the dear, big, strong, wonderful cowboys! And how I should love to 
meet them! 




Humbart J. Bibble, author of "Our Indigestible 

Arts" WXitCS' ^"^y ''•s ^srmans are unafraid. Only the Germans 
_ ' • are as fearless as Barney Google. They dare sim- 

plicity. They defy the commonplace. Out of the warp and woof! woof! 
of this age of machiner\' and bad gin, they weave a vcrklacrmig of camera 
angles. They catch the baffling braver\' of the working man's Saturdav 
night. It is this that makes for the wistful and wiry drama of such pic- 
turesas "Wienerwerkstaette," which unfortunately never has been shown 
in this countn,-. Until the screen of America stops imitating the La Scala 
Opera Company, we cannot hope for much. But even now we have only 
three great Arts in this country: The subway, the stockyards and the 
movies. 



Schuyler Highboy, noted society editor, says: 

Bad taste! Bad taste! Everywhere on the screen. Simply rampant! 
The audiences at Newport positively rock with laughter at one of your 
society dramas. My dear movie stars, when will you learn that no 
really smarl man plays polo in a cowboy suit? It simply has not been 
done since Ward McAllister was in kindergarten. .'Vnd debutantes of 
the really exclusive families do not drink cocktails in the boxes of the 
diamond horseshoe. Art on the screen? Horrors, merely bad taste! 



Some Hand-piclied Opinions 



io 



Expert Ad vice-FREE / 



Professor Henry Hardluck, of the University of 
Beaucash, elucidates: -^ 'f''' ""f"". ";;'' ^f.'}" ™-°fdinatc is not 

.^v-i^.-.v,u.^j.i, >-,v»v,vi^>^i.»^o. ^ reflex action m the strict psychological sense. 
When a child learns to differentiate between its ears and its mouth, it has grasped 
the first elemental conception of its ego as separated from its psyche. A monkey 
cannot do this without a complicated reasoning process which eventually 
obliterates or stunts its cerebral growth. This law of natural selection may be 
expressed by the algebraic formula: 2ab equals xy. Only by the strict enforce- 
ment of Mendel's Law does this become a political issue. By the way, what has 
become of Valeska Suratt? 




Miss Gertrude Cranberry, noted club 



woman, writes: 



I started a movement for little enter- 
tainments for the kiddies, but the silly, 
thoughtless mothers refused to co-operate. But why cannot we 
have more charming little film-plays about the birds and the flowers 
instead of revolvers and short skirts? I know that the dear kiddies 
long to learn more about their feathered friends, but the movie 
producers seem to dote on those silly Western stories. I must have 
a new law passed so that no one can put thoughts of any kind into 
the heads of our kiddies. 



Oscar Rouse, President of the Pure Thoughts 

T p^crnp QrHic/ihv ''^^ ^ ^^^ °" ^^^ screen is obscenity. I 
i^CdgUC, AqaeUf^i, never go to the movies. I am too busy 
trying to get my new censorship law passed. The movies are driving 
the younger generation to the dogs. They are driving children crazy. 
They are driving me crazy. Let us have lots of lan-s and a special 
enforcement squad to police our movie theaters. Let us forbid men 
and women appearing in the same picture together. Let us send any 
producer who breaks this law to jail. People nowadays have too much 
pleasure. The movies give too much pleasure. Let's make them 
illegal. 



George Lupp, the boy poet of Little Rock, 
Arkansas, grows lync: lZ\rJet^,\^:Ven:^:i 

store. I leap. I dance. I move. I flicker. The screen leaps, dances, 
moves and flickers. Therefore I am the screen. Came dawn. Came 
me. The screen is a man. The screen is a part of the hills, the valleys, 
the general store. Let us all go beneath the leaping, dancing, moving, 
flickering sun and throw rocks — little rocks and big rocks — at each 
other! 



of Un\nown Celebrities 




ii 



C>omance and a 



Hard 




iROil washin' and ironin' your one and only dress up shirt 
and gettin' a thrill out of it, to livin' in a manv-roomed 
mansion is several sleepin' cars jumps, and for the benefit 
of sich folks as have never tried it, but have got ambitions 
headed in that direction, I should like to rise and remark that 
it's sure a buckin' horse journey. 

Out in Kansas, where I once served a couple of years as 
sheriff, they had a state motto like this, "Ad Aspera per Asper." 
A law>er which once visited in my jail explains to me how that 
means' 'Through difficulties to the Stars," in English, or, trans- 
lated into an ordinary white man's mode of conversation, 
Jordan is a mighty tough river to cross. Any gent that thinks 
the trail from punchin' cattle to starrin' in pictures ain't 
fraught with dangers too numerous to mention is strugglin' in 
the coils of error. 

When I was a young feller punchin' cows and 
couldn't lay claim to a thing but the horse and sad- 
dle under me, I was a king. .An' I was as full of 
romance as a young mockin' bird. I thought just 
nothin' of doin' up my one and oijy Sunday shirt, 
and ridin' twenty miles if necessary' to a dance. If 
I come to a couple of rivers to snim, that didn't 
dampen my ardor for them festiNaties none what- 



"There was once a mighty thrill in a dinner jacket. 

But when you own two or three, and pay for 'em 

with a check your secretarj- has made out, romanc© 

and thrill has departed for more fertile fields" 



Tom Mix is going to be rec 
an actor one of these days, 
double for him on his horse 
first of a series to appear in 
will realize that he thinks 



ever. I'd undress on the bank of said streams, 

tie my clothes in a bundle, fasten them to a pole 

which I held high abo\e my head while I was 

swimmin' my horse across. I e.xpect I must a 

looked kinda odd, cavortin' about thus in nature's rainment, 

but there was nobody around to see, and on the other side 

I'd stand on a horse blanket and get dressed up again. If 

the weather was around zero I'd have to sing pretty loud to 

encourage myself, but it would have taken as many icebergs 

to stop me as they've got in .Alaska. Nothin' mattered so 

long as I got to the dance. 

Returnin' home I wasn't so plumb careful about gettin' 
wet, because I'd usually have to bust the river wide open in 
order to reach home before sun-up. But I usually had a few 
of what poets is pleased to refer to as tender memories to 
keep me warm, and they'd keep me awake, too, while I was 
on the round-up or ridin' herd all day without ha\-in' 
done any sleepin' at all. 

I'm admittiu' frank and free that romance in those 

days was mighty hard on horseflesh, but it sure throve 

in the breast of man. From what I have observed from 

an elevated point of view — ha^-in' done most of my 

obser\-in' in this world from a horse's back — I have formed 

the opinion that much of the real and finest kind of romance 

has its existence under a flannel shirt. 

You can put down a bet and raise the limit that there 
ain't much romance left in this materialistic age. Xeither 
does romance bud and blossom extensive under a hard-boiled 
shirt — unless the shirt happens to be borrowed. 

There was once a mighty thrill in a dinner jacket — we used 



Boiled Shirt B^ Tom Mix 



to call 'em Tuxedos — if you had to save up your nickels and 
dimes to get it. But when you own two or three and pay for 
'em with a check your secretary has made out, romance and 
thrill has departed generally for more fertile fields. They be- 
come just another suit of clothes. 

\Vh\-, sav, even the pride we used to get out of wearin' a new- 
suit of clothes has departed like a maverick in the spring. An' 
that's on account of materialism. We hve in a material age, 
accordin' to some of these high-foreheaded and philosophical 
gents who inhabit colleges and suchlike places, and expressed 
in easy-to-understand ranch English that just means we're 
too hard-boiled nowadays to get half the fun out of livin'. 

With the picture business the way it is nowadays, a man has 
to work so hard to keep on top of the heap he don't have much 
time to enjoy bein' there. 

Real, sure-enough, grade .\ romance exists out in the hills 
and out on the prairies where it's got breathin' room. It don't 
seem to have the chance of a stray yearlin' in a crowded city. 
Natural romance sneaks up on you unexpected. When you 
start out huntin' it, it's as snakey as a broncho. 

llanv a man hollers because he can't find a bed of roses in 
life, when it's an ace in the hole bet he never planted a single rose. 

Romance is the natural expression of youth. Recklessness 



ognized as a 'writer as ■well as 
He doesn't need anyone to 
or his typewriter. This is the 
Photoplay. Read it and you 
and writes as well as he acts 




and romance are the joys of 
youth, just like cautiousness is 
the penalty of age, but if }-ou're 
smart and cinch your attention 
down to it, you can hang on to a 
lot of your early romance. 

Now there's practically no 
romance to speak of in a dinner 
served by a foreman in a swell 
hotel with a bunch of fox-footed 
waiters fillin' your glass — of water 
— even.' time you take a sip, and 
leanin' over to serve the fish just 
in the middle of your best yarn. 
But there's plenty of romance in 
eatin' lunch under a nice, shady 
tree with a pretty girl. An' there 
are still some trees in spite of the 
best efforts of the city authorities 
in Los -Angeles, where they think 
trees are a nuisance. And I know 
one pretty girl who'd rather have 
lunch with me than any other fel- 
low even if she has et most of her 
meals across from me for ten years. 

There's got to be a little "sneak" to make romance any good. 
I once viewed a play called "Romeo and Juliet." This Romeo 
guy sneaked up on a porch and made love to the girl. All the 
women around me just about went crazy over that scene and 
said it was so "delicately beautiful" [ continued on p.\c.e 114 1 




"When I was a young feller punchin' cows and 
couldn't lay claim to a thing but the horse and saddle 
under me, I was a king. An' I was full of romance. 
I thought nothin' of doin' up my one and only Sun- 
day shirt, and ridin' twenty miles to a dance" 

43 



STUDIO NEWS ^ GOSSIP 




His parents didn't name him Victor for nothing. For Mr. 
Fleming actually persuaded Clara Bow to say "Yes'' and 
the marriage will take place next year. Provided, of 
course, Clara does not slip out of the lovers' knot once 
again 

JACK GILBERT was in love. And you have never seen a ram 
in love until you have seen Jack in the throes of the delicate 
passion. It is a tonic, a magic potion. And all because of 
Greta Garbo, the lissome Lorelei from Scandinavia. She is an 
unconscious enchantress. Shecharms without knowing it. Jack 
was in a delirious delicious swoon, and if you don't see some 
torrid love scenes in "Flesh and the Devil "it won't be his fault. 
He was all set to ask her to marry him, and he had intimated 
that he loved her. But then something happened and the ro- 
mance went up in the air. All of a sudden Greta Garbo was 
seen in the company of her former suitor, Maiu-itz Stiller. And 
Jack abruptly departed for Xew York. Alas for the course of 
true love ! 

"^ORMAN KERRY tells of the young actor who loved his 
■^■^ bottle too well and not too wisely. After each picture 
the boy went on a terrible toot that left his nerves jangling. 
He started on one at the end of a picture and was called back 
to the studio for re-takes, or additional scenes. 

He presented himself at the studio, a young St. Vitus: 
"All right, folks," he grinned, "I'm ready for the re- 
shakes." 

THE old, reliable rumor is again in the air. You've heard it 
hundreds of times. This time a lot of people who should 
know insist that Mary Pickford and Douglas Fairbanks wiU 
star in a picture together and that work on the production wiU 
be started any day now. Jlary hasn't been able to make up 
her mind about a story for herself and Doug can't decide on a 
choice of vehicles. So they may discard all plans for separate 
productions and combine their respective staffs on one picture. 

"DICHARD DIX tells about the sweet young thing who 
■*-^was interviewing an actor. They were going from the 
studio to a restaurant for lunch. It was raining. The taxi 
skidded and threw the young lady into ecstasy. 

"Oh, goody! We're going to have a wreck! I just love 
wrecks!" 

The actor looked dourly at her ; "Have you seen my wife?'* 




Our coming 
matinee idol — 
Mr. John Coo- 
gan. Will this 
manly young 
fellow ever for- 
give the critics 
who called him 
'*sweet and 
adorable" in 
"The Kid"? 
Jack is a bij 
boy now and 
he merits an 
entire new set 
of adjectives to 
describe him 



HOLLYWOOD is whispering that the engagement between 
Bebe Daniels and Charles Paddock is off. That's because 
they haven't seen Charlie and Bebe together in Hollywood or 
on the beach lately. 

Probably they don't know Paddock is making a swing of the 
Key cities of the United States on a lecture tour. 

Bebe tells me the engagement is just as much on as ever. 

u 



WITH true Griffith luck, the director got the blame for all 
the faults of "Sorrows of Satan" and little of the credit 
for the good qualities of the picture. Griffith seems to have the 
unhappy faculty of bringing fame to others and blame to him- 
self. 

"Sorrows of Satan" has made Ricardo Cortez as an lactor 
and it has also brought new prestige to Carol Dempster. But 
it has only been the source of a lot of grief to Griffith. 



WELL, all is over between D. W. Griffith and Famous 
Players-Lask.N'. Henceforth, Griffith will probably make 
pictures for Universal. There has been a lot of talk about this 
artistic divorce but it all sums up to this: Famous Players- 
Lasky was dissatisfied with "Sorrows of Satan" and Griffith 



EAST AND WEST ^yCaivork 



Irish luck plus 
an unquenchable 
spirit of youth 
have landed Sally 
O'Neil up among 
the featured 
players. Sally's 
frank wit is the 
terror and delight 
of the studio. 
She is now 
playing in 
"The Mys- 
t e r i o u s 
Island. " a 
Jules Verne 
fantasy 





^ 



I 



didn't like studio routine. It is hard to teach an old dog new 
tricks and Griffith had been his own boss for so long that he 
couldn't adapt himself to new conditions. 

Everyone hopes that Griffith will make a big " come back." 
He is a truly charming man and the industry will always be in 
his debt. 

And everyone wants to see him get his just dues. 

GRIFFITH'S first film for Universal probably will be Edna 
Ferber's story, "Show Boat." Here is a gorgeous, roman- 
tic tale that is right up Griffith's street and it will be a great 
contrast to the inanities of JIarie Corelli. Marj- Philbin \yill 
be the star and Mary is exactly the sort of star that Griffith 
should direct. 



A strictly modem picture of a bride and groom. The only 
thing that is missing is the boxing gloves. Guess who is 
the boss in the King Vidor-Eleanor Boardman household. 
Anyway, Eleanor is old-fashioned enough to wear a ring, 
even though you can't see it here 



As for Carol Dempster, they say that Famous Players- 
Lasky wants to sign her up as a star. Under Griffith's training, 
she has developed into a fine actress and — what is more to the 
point — an actress with real drawing power. There is irony in 
the fact that Famous Players wants Miss Dempster but can't 
see Griffith. 

"DILL HART, JR., was being interviewed on his fourth 
■^birthday. 

"What do you want for your birthday?" queried the 
reporter. 

"A birthday cake with candles," replied Bill. 

"And what kind of cake?" 

"Oh, I'll take a deviled egg sandwich with frosting." 

Looks as if little Bill would develop into a culinary artist 
instead of a celebrated two-gun Western artist like dad. 

WONDER how Sam Goldwyn happened to let Gary- 
Cooper, the Abe Lee of "The Winning of Barbara 
Worth," slip through his fingers. His several vivid scenes in 
the picture would be a good recommendation for a contract, it 
seems to me. Paramount thought so. because they have signed 
the young Montana lad and he has already played small parts 
in "Wings" and "It." 

Gary is one of the two sons of Judge Cooper of Helena, Mon- 
tana, and has spent practically all of his twenty-two years on 
his dad's ranch. He is a tall, lanky, likable Western boy. He 
, went to coUege at GrinneU. 

Goldwyn passed up Cooper and Paramount nabbed him: 
Paramount passed up Ralph Forbes, the Jolt7i of "Beau 
Geste," and Metro-Goldwyn-Mayer got him. So it goes. 

GARDNER JAMES and Marion Constance Blackton, 
daughter of Commodore J. Stuart Blackton, picture 
pioneer, are to be married Christmas Day. Which settles 
definitely any rumor that Renee Adoree had stolen Gardner's 
affections from Marion Blackton, who is a clever young scenario 
writer. 

After stealing most of the pictures in which he has been cast, 
Gardner was signed to an Inspiration contract to replace Dick 
Barthelmess, who signed with First National. Three years ago 
he landed as a stoker at San Pedro, a harbor town near Holly- 
wood. He was fiat-broke but ambitious. Adverse circum- 
stances didn't keep him down. He's one of the good bets of 
1927. 



45 





This exercise fad has the girls all upset. It 
has literally stood Hollywood on its head. 
Jobyna Ralston works daily at the Hollywood 
Athletic Club, keeping that school girl figure. 
Harry Pierson is her trainer 



JOHN ROBERTSON and Josephine Lovett are now cutting 
and titling "Annie Laurie." 

The picture probably will be held for special release and 
Lillian Gish will begin work soon, under the direction of 
Clarence Brown. 

The Robertsons have bought a home in Beverly HiUs. They 
had planned to make another picture with Miss Gish; but 
Metro-Goldwyn w-ants Mr. Robertson to make a special pro- 
duction, as it is too prodigal to keep a star player and a star 
director on one picture. As for Mr. Robertson, he was one of 
the few American directors who was using "camera angles" 
when the V¥\ technicians were still making all their pictures 
in long-shots. 

f^REIGHTON HALE got an extra hour's sleep two mora- 
^^ings straight by being a clever young chap. 

Creighton was working on "Annie Laurie" and suggested 
to Director John Robertson that the Dark Canyon Hills, 
in which Hale lives, would pass nicely for Scottish High- 
lands. 

After looking them over, Robertson agreed and Hale 
found the company working in his own back yard. Hence 
the extra hour's sleep. 

AN eight pound baby boy was Lloyd Hughes' birthday- 
present from his wife, Gloria Hope Hughes, and they were 
both so excited over the arrival that they forgot to choose a 
name. I shouldn't be surprised if they would call him Lloyd 
Hughes, Jr., which is as fine a name as I can think of for the 
first man-child of the Hughes family. 

PIECE by piece to his fans and friends, Rudolph Valentino's 
prize belongings will be auctioned off at " Falcon's Lair," his 
Beverly HiUs home which he loved so dearly. His eight horses, 



Panoramic view of Emil Jannings' first meal in an Ameri- 
can studio. He will have to get used to ham sandwiches 
and coffee. On this side of the picture we have William 
Le Baron, Mrs. Jannings, and, above, Skeets Gallagher 
and Ricardo Cortes 



books from his library-, several foreign cars, works of art, curios, 
tapestries and jewelry will go under the auctioneer's mallet. 
Even his personal wardrobe is to be sold, and some of his 
famous studio costumes. 

A CERTAIN Hollywood actor has a new house of which 
^^ he is very proud. So he had some moving pictures 
taken of the home and the garden. And he showed the film 
one night to his friends in his private projection room. 
The introductory title to an opening long-shot of the house 
read: "Shack in desert where Aimee Semple McPherson 
was held prisoner." 

Yes, he titled the picture himself. 

MAY ALLISON, who has just completed two pictures for 
Fox company, "The City," and "One Increasing Purpose," 
was married at Santa Barbara last month to James R. Quirk, 
Editor and Publisher of Photopl.w. 

I HOPE Hollywood won't spoil Emil Jannings. I hope that 
he will never "get that way." The big German actor de- 
lighted New York with his simplicity and with his child-like 
joy in seeing the sights. Nobody had to "entertain"' Jannings. 
He amused himself — and in the strangest ways. 

For instance, he spent fifteen minutes before a display win- 
dow on Broadway, watching three Italian cobblers repair shoes 
by modern machine methods. 

It was hard to lure him into business conferences, because of 
his immense curiosity about New York. And it took him two 
hours to eat his meals. Jannings didn't like hotel food and so he 
ate in a taHc d'hote restaurant where dishes were put before him 
in an unending array, .\fter every meal, he announced simply, 
in English, "I am happy." 

J-\NNINGS saw three plays in New York — " .\n .American 
Tragedy," "Lulu Belle," and "Broadway." He liked them 
all. .And he especially admired Lenore Ulric. The rest of his 
evenings were spent at prize-fights, which he loves. He was 
delighted to find out that there are good prize-fights in Holly- 
wood. He also visited the Harlem cabarets and he wanted to 
go to Chinatown. But he had such a lurid, melodramatic pic- 
ture of Chinatown that no one wanted to disillusion him by 
showing him the drab dullness of Mott, PeU and Doyers 
streets. 

Once, while motoring on Fifth Avenue, he suddenly leaped 



46 




And on this side of the picture, we see Mr. Jannings drink- 
ing a toast to Estelle Taylor. (It's only coffee.) And Miss 
Taylor responds with a glass of milk. The amused and 
interested onlookers are William Powell, Luther Reed and 
Lester Scharff 



from the car, dashed into aa automobile showroom and returned 
with the announcement that he had purchased two expensive 
cars. Mrs. Jannings was revived by friends. 

Although they say that every man likes to visit his birth- 
place, Jannings never once expressed a wish to go to Brooklyn. 

/"OVERHEARD in the projection room, where Dorothy Gish 
'^was looking at some of the "rushes" on Sister Lillian's 
latest picture, "Annie Laurie." 

The "rushes" showed Lillian as Annie Laurie climbing 
the rocky craigs of the highlands to tear down the torch or 
beacon which was set to call all of the Scot Clans to war. 
It was a thrilling scene. Whenit was over: 
"Sister certainly brought home 'de beacon,'" murmured 
Dorothy. Then they put her out of the projection room. 

XX THEN Ronald Colman heard that Florence Vidor was 
W coming from New York on Sunday, he told \'ilma Banky, 
and she told George Barnes, the cameraman, on "A Night of 
Love," and they decided to frame a joke on George Fitz- 
maurice, who is engaged to Florence. 

Sunday morning Ronald approached Fitzmaurice and with 
mock solemnity said: "I understand we are behind schedule, 
Fitz, and you know how I hate to work on Sundays, but for 
your sake I'll be glad to work tomorrow." Fitz thanked him. 

Then Vilma approached: "Mr. Feetzmaurice, I do not like 
to vork on Sundays, but becuss ve are so behind time, I vill be 
glad to vork Sunday." Fitz thanked her. 

Up came George Ba.aes, the cameraman: "Mr. Fitz- 
maurice, my gang hates to work on Sunday, but they are all 
willing to work for you tomorrow to catch up to schedule." Fitz 
thanked him. 

But the joke was on them, for Fitz called their bluff and they 
worked until twelve noon the ne.\t day, when Fitz knocked off 
to go to meet Florence. 

I CALLED the First National studio to reach Colleen 
Moore's press agent. All I got was a terrible grating sound, a 
buzz, a violent clacking and then silence. Reaching him an 
hour later I roundly cussed the switchboard operator. 

"Oh that must have been Colleen gumming up the service," 
said her p. a. " She spends her noon hours at the board prac- 
ticing for her next picture." 

Colleen's newest film, "Orchids and Ermine," is about a 
switchboard operator in a big hotel who gets famous. 




Horses! Horses! Horses! After "The Better 
'Ole," Syd Chaplin is crazy over horses, horses, 
horses. But these Tin Lizzie animals must 
have their oil. Old Dobbin is fully equipped 
with a gear shift and a self-starter 



POL.\ NEGRI is going to play Becky Sharp in a new screen 
version of "Vanity Fair." I am glad that Thackeray's 
novel is to be done again, because Becky is a most modern 
heroine. But I had always hoped that Gloria Swanson would 
play Becky. Not that I am trying to stir up the old Gloria- 
Pola feud, which has been laid away so quietly, but it seems to 
me that Gloria is a better Anglo-Saxon type than Pola. 

THE foreign invasion continues. Emil Jannings had hardly 
set foot on American soil until Richard .\. Rowland, general 
manager of First National, was back home with the contracts 
of two other UFA personages. Rowland signed .'Mexander 
Corda, director, and his wife. Maria Corda, European film star. 
And then Universal signed Conrad Veidt. the German actor 
imported by John Barrvmore. He will first appear in Hugo's 
"The Man Who Laughs." 

J.\CK GILBERT is going in the bootlegging and hijacking 
game. Don't get me wrong. He's not going to defy Mr. 
Volstead, but will star in "Twelve Miles Out," William 
Anthony McQuire's melodrama of bootlegging and hijacking. 
The rights have beer bought by Metro-Goldwyn-Mayer. Jack 
Conway has been selected to direct. 

"OAT O'MALLEY always smokes a villainous-looking 
■^ pipe when he drives his wife's big Umousine. And 
there's a reason. "Someone mistook me for the chauffeur 
once," explains Pat. 

WHEN is temperament not temperament? When is a star 
justified in kicking about the sort of story offered to her? 
Two instances of "temperament" have come up in West 
Coast studios recently. Greta Garbo [ coxtinxed ox p.4Ge 95 ] 



Camp Fairford on the V) 

, „^ facific 



In a secluded cove at Leguna, California, inac- 
cessible even to automobiles, Mary Pickford 
and Douglas Fairbanks hide away to talk 
stories and enjoy a little privacy after their 
strenuous European "vacation." Here the 
famous stars spend their week-ends, far from 
the maddening studio 




Keeping in trim! Doug finds time for athletic 

exercise almost every minute of the' day. His tent 

entrance makes an ideal horizontal bar 



Good Morning! Miss Pickford, ready for her early morning dip 
in the Pacific at Camp Fairford 



ma2,ing 
April 




By 

Faith Baldwin 



There April sat, in a great, high carven chair, her 
pale head a flower against the dark background 
. . . and after a moment or two of banalities she 
spoke, her long hands held hard in her lap — 

*'I think," she said with the austerity of a nun, 
"I think you come here too much." 



Illustrated by 

Connie Hicks 



WHEN, some twenty-four years ago, black-eyed 
Cherry Carter stood at the altar of St. Thomas' in 
her ivor}' draperies, her gorgeous red head just 
reaching Jack Masters' shoulder, ever\'one in the 
overcrowded church agreed that a handsomer couple had never 
set foot in the sacred and fashionable edifice. "Well-mated" 
was the general verdict and that not in good looks alone. The\' 
were, in a way, a little overwhelming, possessing separately and 
together youth, money, social standing, charm and beauty. 
Likewise education. It really didn't seem fair! The envious 
and less endowed among the spectators mentioned that Cherry 
and Jack had other traits in common, unquenchable gaiety, for 
instance — or downright frivolity, if \ou wish to put it more 
plainly. "As light-headed a pair as ever I saw!" commented 
one dowager tartly, as she propelled her obese, bugle-bestrewn 
bulk out of the church into the whimsical spring sunshine. 
"That marriage won't last!" she said grimly, with her best pug- 
dog expression, and then added, with what was almost indel- 
icacy a quarter of a century ago, "God help their children!" 
With which she climbed painfully into a Victoria and drove off. 
She was, perhaps, the only person to utter such a comment 
in public. But there were whispers behind fans and teacups 
and many speculations. Even a bet or two, good odds, at a 
certain club. For surely. Cherry Carter and Jack Masters had 



never had a serious thought between them, nor yet a serious 
purpose. They were a pair of superb butterflies, simning 
golden wings and floating airily about enchanted gardens. 
And they were, at one and the same time, the scandal and pride 
of the circle in which they fluttered by right of birth. 

Cherry wore the lowest gowns! Jack ordered his clothes 
from London! Cherry had more than once displayed a deli- 
cious ankle! And it was certain that her dancing in sedate 
ballrooms was — well — almost professional. One did not do 
these things at the turn of the century — or at least — not 
openly. 

And then — Jack and his reputation! In those dear old days 
a young man spelled his past with a capital and purple P. Jack 
had been seen at stage doors, in greenrooms. He had an 
apartment! And that, when his family lived in a gloomy brown 
stone house on Madison Avenue, with plenty of room in it. 
In Jack's apartment parties were given. There was wine — and 
smoke — and perhaps other stimulants. Oh, he was a very gay 
dog, was Masters, and as handsome a one as ever bolted from 
the family kennels. Black hair for Cherry's red, blue eyes to 
contrast with her great, soft black ones, and the figure of a 
matinee idol. To see them riding through the Park of an early 
morning was a w^onder and a joy. 

When they began these rides together tongues clacked 



How April solved the giddy problem of a modern girl 

with mad, gay parents 



i9 



"Oh!" said April. 

Young Andrews rose, still with grace and not at all 
abashed. Cherry, who had just opened her mouth 
to say that she thought he was a dear only he mustn't 
be silly because that would spoU things, sat quite 
still and never turned a red hair. "April, my dar- 
ling," she said, "why didn't you phone for a car?" 



busily. Ever\-one had hoped that Jack would settle down — "that 
nice little Morgan girl " for e.xample. But when he showed signs 
of settling down with Cherry Carter the affair took on a dan- 
gerous complexion. No man on earth could "settle down" 
with Cherry I Jack had, it appeared, planned to spend the rest 
of his life with a girl who was like a glass of champagne, moon- 
light in \'enice, Circe, Helen, Cleopatra! The divers opinions 
of the mob, culled at random. No setthng down here; and 
finally, "Heaven help the next generation!" All New York — 
such as mattered — waited breathlessly for Cherry to produce 
a daughter who would go on the stage, a son who would rob a 
bank from sheer love of adventure or — worst scandal of all — 
neither son nor daughter at aU. 

People married early in those dimming days. Cherry was 
nineteen and Jack was twenty-two. After a year in Europe 
they betook themselves to Jack's new place in Westchester and 
with half a dozen horses, twice as many dogs, three Persian 
cats and a car-load of servants they set about the business of 
enjoying life, appearing weekly in town for opera or ball or 
1 1 ly, sta>'ing at the Waldorf, haunting day-time shops together 
and showing no signs of settling, one way or the other. 

They had been born before their time, these two. And they 
loved one another gloriously. People didn't seem to realize 
that, or if they did they were discreetly silent about it — passion 
and marriage were considered so incompatible. 

When they had been married almost three years the baby was 
born. Before its arrival New York was more shocked than ever. 
They — the prospective parents — talked about it! Actually! 
To everyone ! Cherry, in town on a shopping trip, would rush up 
to the merest acquaintance and exclaim in that curious, throaty 
voice of hers, as sweet as a hoarse little thrush, "Oh! did you 
hear? I'm going to have a baby! Isn't it wonderful?'' To 
which the Hstener would gasp polite assent and hurry home to 
tell the family that, really. Cherry Masters had no sense of the 
decencies whatever! (Poor Cherry, who dared to be natural 
and happy!) 

And Jack was just as bad at his nine clubs or back at Yale 
for a reunion. 

Alarming enough for New York to be confided in wholesale. 
But if it only could have heard Cherry and Jack before the 
great log fires that fall and winter, up in the Pocantico Hills. 

"If it's a boy," she said, dreamily, "and of course it must 
be a bo> — he shall be a little mad — like us, darling — and a very 
little wicked. He'll come home for vacations, with an opera 
hat on the back of his head and a stick in his hand and his eyes 
shining — at about four in the morning. And when I scold him 
he'll laugh and kiss me twice and tell me that it doesn't matter. 
And it won't, not really. And if he falls in love with a chorus 
girl we'U be nice to her and have her out weekends and you 
shall flirt with her, yourself — she won't look at him when his 
father's around — and then he'U get tired and marry some nice 
girl I've picked out for him by then. Not too nice, that would 
be deadly!" said Cherry, wisely. 

And so they planned their baby. A gay baby, a bad baby, 
an impish, elfin small boy, a debonair, generous lad with lots 
of faults and lots of the most precious virtues — and charm — 
tremendous charm. 

"For," said Cherry, "he's got to keep us young. And we'll 
stay young, keeping up with him! Oh — " sliding from the 
armchair to her husband's feet, winding white arms about his 
knees and looking up at him, a little sorrowfully, a little 
anxiously, "Oh, let's never grow old. Jack darling — never.'" 

Then the baby arrived, in April, and it seemed for a Httle 
while that Cherry would have her wish — that she would never 
grow old, but would slip away from the arms that held her, 
would be deaf to the anguished voice that commanded her to 
stay — and be young — and be lost — forever. 

Dark hours for Jack Masters. No one saw him but the doc- 
tors and nurses. He said ven.- little, but he looked like a man 
in hell. 

50 




However, youth is youth, and Cherry's Uttle body was strong 
and she had a great love of life. She fought and she won and 
when it was all over and the danger was past they told her that 
her two day old baby was a beautiful little girl and that if she 
were very good she might see her husband for a moment. 

Jack came into the room, his own room, for people didn't go 
to hospitals in those days, and when he saw her he wanted ter- 
ribly to put his head down on that tired, white shoulder and 
cry — but he didn't — he laughed, just a little, instead, and said, 

"Well, fooled again — it's a girl, you know." 

But he'd kissed her before he'd spoken and she knew — she 
knew. 

"Upsetting, a little, wasn't it?" she said, weakly, with a 
flash of theoldgaiety. "After aU our plans — never mind — next 
time — " 

But later they had to tell her there would be no next time, 
not ever. 

Naming the baby was difficult. They'd been so sure of 
Junior. But when Cherry was able to sit up and pour tea and 




wear her most fascinating negligee and look over from the big 
sofa to the beribboned bassinette, she began, with her native 
adaptability, to plan for the girl a little as she'd planned for the 
boy. 

"I'd like a name," she said, "withlaughterin itandsunshine 
andperhapsatearortwotomakeherinteresting. April? We'll 
call her April — do you like that, dearest?" 

Jack, worshiping beside her, nodded. Had she elected to 
name the child February he would have been just as cheerful. 
New York, however, hearing, remarked, "Poor child — that 
outlandish name as a handicap — how very like Cherry!" 

Now Cherry's name was really Carolyn, but almost everyone 
had forgotten that, including her godmothers and godfathers in 
baptism. 

April was a good baby, she rarely cried or fretted, she lay 
for hours in the bassinette and regarded the ceiling. Cherry, 
weU again, found this a little nerve. 

"Can't be ours!" she announced firmly. "Isitreally? It's 
not possible. Ours should yell — all the time — out of sheer 



deviltry. And this little thing never opens her mouth except 
at meal time." 

Oddly enough, April was very blonde. She had the fair hair 
of her father's mother. Jack's blue eyes, a rose leaf skin and a 
really beautiful baby body. 

"She'll be a wonder!" said Jack, looking at her as she 
sedately received her tubbing at the hands of her nurse. "She'll 
break hearts!" 

He spoke out of a profound wisdom. He had made a study of 
beauty in his time, he recognized it even when it was eight 
months old. 

The nurse was a little shocked, but Cherry was pleased. 

"Oh, do you think so, truly?" And she began to plan at 
once. 

"She'll be an outrageous flirt," Cherry told Jack, in private. 
"And a little inclined to kick over the traces — oh, very small 
traces," she added hastily, "so you needn't raise your funny 
eyebrows! And when she's seventeen we'U have six dozen 
nice boys on our doorstep all [continued on page 120] 

51 



THE NATIONAL GUIDE 




THE RETURN OF PETER GRIMM—Fox 

AS loveh' in its blending moods as an April day is "The 
Return of Peter Grimm." 

Can the dead commune with the living? That Peter 
Grimm argues constantly. Pckr is an old Dutch nursery- 
man, raising flowers and his adopted children, William, the 
little boy, whose father is unknown; orphan Katie, and 
Jimmy Bartman. Katie and Jimmy are in love, but Peter 
begs Katie to many" Fredcriek, his nephew. She agrees. 

Then Peter dies. Little William falls ill. Katie plans to 
fulfill her promise. Then Poter returns, a gray shadow in the 
house where he once lived. Since death he knows Frcderiek 
is the betrayer of William's mother. Happiness follows. 

The cast is excellent, with Janet Gaynor giving the out- 
standing performance. 




EVERYBODYS ACTING— Paramount 

GOOD news! Mickey NeUan's back at his old tricks. 
Jlickey's put laughter, sentiment, pathos and mar- 
velous gags in this flicker he both wrote and directed. 

Gaze on these names — Betty Bronson, Henry Walthall, 
Louise Dresser, Ford Sterling, Lawrence Gray, Raymond 
Hitchcock, Stuart Holmes, Edward Martindel and Philo 
McCuUough, and figure what they do with a stor>' giving 
each of them a chance to act all over the place. 

It's a Cinderella story about a stage baby and the Fathers 
Associated, five actors who bring her up. She falls in lo\-e 
with a rich young man. The rich young man's mother 
does not approve. And that's where the title comes in. 

Don't miss this. The direction and the playing are twin 
joys. The children will adore it. 

52 



TO MOTION PICTURES 

The 

Shadow ' 
S tag e 

A Review of the T^ew Pictures 




FAUST— UFA-Metro-Goldwyn-Mayer 

THIS German-made visualization of the Faust legend 
is an e.\traordinar\' motion picture, one of the really fine 
things of the screen. 

Goethe's panoramic poem has been used as its basis and 
the adaptation has followed, in the main, as closely as the 
screen permits. 

The medieval legend of the philosopher, who sold his soul 
to Satan that he might regain his youth, has been told many 
times and in many forms. This celluloid version testifies 
to the directorial abilities of F. W. JIurnau and proves that 
his "The Last Laugh" was no mere chance success. 

Jlurnau has caught the medieval atmosphere with sur- 
prising success. Under his adroit direction, the interest 
never lags. Murnau was aided by three fine performances: 
of Emil Jannings as Liieifcr, of Camilla Horn as Marguerite 
and of Gosta Ekman as Faust. Indeed, for once, a picture 
is stolen from the redoubtable Jannings. 

This Berlin newcomer, Fraulein Horn, is a remarkable 
actress. Playing the role that was offered to Lillian Gish, 
she gh'es what is, ia our opinion, a better performance 
than Miss Gish could have offered. It is a superbly tender 
and unafiected bit of work. 

This, of course, isn't taking credit away from Jannings 
who contributes a roystering and amazing Satan. 

Murnau has developed any number of scenes e.\traordi- 
nary in directorial technique and photography. The opening 
curiously parallels the start of the Griffith film, "Sorrows 
of Satan." with Lucifer at the gates of Heaven. The Murnau 
handling is \'3stly superior, however. 



SAVES YOUR PICTURE TIME AND MONEY 



The Six Best Pictures of the Month 

FAUST HOTEL IMPERIAL 

THE RETURN OF PETER GRIMM 

EVERYBODY'S ACTING 

WE'RE IN THE NAVY NCW UPSTAGE 

The Best Performances of the Month 

Camilla Horn in "Faust" 

Emil Jannings in "Faust" 

Pola Negri in "Hotel Imperial" 

Betty Bronson in "Everybody's Acting" 

Wallace Beery in "We're in the Navy Now" 

Raymond Hatton in "We're in the Navy Now" 

Norma Shearer in "Upstage" 

Oscar Shaw in "Upstage" 

Casts of all pictures reviewed will be found on page 125 




HOTEL IMPERIAL— Paramount 

HERE is a new Pola Negri in a film story at once 
absorbing and splendidly directed. The credit on 
this last item may be divided safely between Mauritz 
Stiller, the director, and Erich Pommer, the production 
chief, late of UFA and now of Hollywood. 

Actually "Hotel Imperial" is another variation of the 
heroine at the mercy of the invading army and beloved by 
the dashing spy. This has been adroitly retold here, untU 
it assumes surprising qualities of interest and suspense. 
The scenes of "Hotel Imperial" take place in a deserted 
hostelry in Galicia, between the Austrian and Russian lines. 
In the dark, shadowy halls of the half-medieval hotel, the 
action develops swiftlj' and surely around a hotel slavey, a 
spy masquerading as a waiter, and the heads of the Russian 
divisional army, at the moment in triumphant advance. 

Jliss Negri at last has a role that is ideal. Moreover, 
she gives a corking performance of the Galician slavey. 
It is her best characterization since she came to Hollywood. 
James Hall, as the Austrian, and George Siegmann, as the 
Russian general, give admirable performances, and the bit of 
a Russian spy is finely done by Michael Vavitch. 

"Hotel Imperial" places Mauritz Stiller at the forefront 
of our imported directors. It will give high interest to his 
forthcoming work with Emil Jannings. Credit for directo- 
rial supervision goes to Erich Pommer, under whose guid- 
ance "The Last Laugh," "Variety" and most of " Metrop- 
olis" were filmed on the Berlin UFA lot. 

Don't miss "Hotel Imperial." It has Pola Negri in her 
best role since "Passion." 




WE'RE IN THE NAVY NOW— Paramount 

W.\LLACE BEERY and Raymond Hatton did so well 
for the army — and the boxolEce — with "Behind the 
Front" that this comedy of gobs and the war results. 
"We're in the Navy Now" is diverting, but it isn't as good 
as its predecessor. 

The captions describe Beery and Hatton as "the big gob" 
and "the little gob." How they enlist to see the world, 
scrub decks and peel potatoes, their training course and 
their wartime adventures, not to count their escapades in 
France, constitute the comedy. Both these ex-screen 
scoundrels prove their mettle in comedy. Chester Conklin 
does a bit as a comic officer. 

Don't forget Director Eddie Sutherland in passing out 
credit for the laughs. 




UPSTAGE— Metro-Goldwyn-Mayer 

HERE'S a gay story of what happens to a fresh kid who 
gets a swelled head. 

Dolly Bavcii, out hunting a stenographer's job, meets 
Johnny Sirom, a song and dance man, who engages her as 
partner in his vaudeville act. A couple of rehearsals and 
Johnny sees Dolly can't dance, but that she can wear clothes. 
So he does the work and lets Dolly get the spotlight. Johnny 
loves her, but she leaves their act to go with another. She 
flops and is finally reduced to being a chorus girl in the 
closing act of the bill on which Johnny is headliner. But you 
know how love is! 

The cast, headed by Norma Shearer and Oscar Shaw, is 
perfect, the atmosphere charming and Monta Bell's 
direction delightful. Take the youngsters. 

S3 



SO'S YOUR 
OLD MAN— 
Paramount 




LONDON— 
Paramount 



WC. FIELDS is funnier here than in his first stellar 
■ venture, "The Old Army Game." The comedian plays 
a disreputable small towner who invents an unbreakable auto 
windshield and becomes the pal of a haughty visiting princess. 
From derelict, Sam Bisbee becomes the hero of Waukeagus. 
Fields is amusing and .\lice Joyce is delightful as the princess. 
There is one hilarious interlude when Satn tries out his in- 
vention with a brick — but picks the wrong Ford. 



THOMAS BURKE'S story of the Limehouse is lacking in 
originality. It is nothing more than the Rags to Riches idea, 
set against the background of the slums of London. Dot Gish 
is uninspiring and unattractive — having fallen under the spell 
of the coiffures of London. They are most unbecoming. 
The remainder of the cast is composed of English players 
who don't mean a thing in any movie-fan's life. Use your 
own judgment. 



PRIVATE 
IZZY 

MURPHY— 
Warner Bros. 




MILLION- 
AIRES— 
Warner Bros. 



WE'\'E had the funny side of life. Now we must sit 
through the sordid lives of the Irish and Jews. Some- 
thing was needed as a starring vehicle for George Jessel and 
this is the best that could be found. A sloppy story of a Jewish 
boy who serves his country with the famous Fighting 69th 
and his love for an Irish lass who, before he went to war, 
thought he, too, was Irish. This is Jessel's first picture and 
he seems to be far from ease behind the Kleigs. 



THIS is the worst by far of the Ghetto pictures that seem to 
have taken possession of the screen. Too awful! It 
isn't funny, though it tries to be — it is ridiculous. The plot is 
so old it creaks and rattles — the "Bringing up Father" theme 
dressed up with kosher characters. You would waste your 
money on such movie-hash. Better you should put your 
time to advantage. Here's hoping for fewer and better 
pictures. 



THE BELLS— 
Chadwick 




SPANGLES- 
Universal 



THERE is one redeeming feature about this hea\'y and grue- 
some tale — the fine performance of Lionel Barry more. 
Barrymore is at his best in a character role. This is a powerful 
drama, telling the story of an avenging conscience when an 
innkeeper cold-bloodedly murders a traveler for his gold and 
escapes even suspicion. This is the type of picture you either 
like or dislike — there is no happy medium. All in favor say, 
aye! 

H 



THE circus is back in town with all its joys and heartaches. 
Lite under the big top assumes a gloomy aspect for its 
players — at least in movie versions. Nevertheless, it's inter- 
esting. Did you ever hear this one about the gal being be- 
trothed to the owner of the circus? Along comes the hero whom 
the girl befriends. The owner is murdered — quite a few 
murders this month — and the hero is accused. But all ends 
happily. 



MIDNIGHT 
LOVERS— 
First National 








EXIT 
SMILING— 

Metro- 

Goldwyn- 

Mayer 



SOMEHOW, Lewis Stone seems to be at home in domestic 
comedies. And Stone can be just as funny as some of our 
foremost comedians. There is a drunken scene where Stone 
dresses in his wife's negligee, that is just priceless. It is risque 
without being offensive. The titles by George JIarion, Jr., 
help matters laughingly. .\nna Q. Nilsson and John Roche 
are in the cast. You can't atTord to miss this if you want a 
pleasant evening's entertainment. 



A PICTURE which had such possibilities and of which 
so much was expected that the result is disappointing. 
In the effort to make this a rip-roaring comedy, the human 
interest and pathos have been overlooked, and had these 
been stressed the picture would have been excellent. Beatrice 
Lillie, the English comedienne, is not particularly impressive. 
In fact she has a lot to learn in camera technique. Photo- 
graphicalh — she is not a camera study. 



THE 
MAGICIAN— 

Metro- 

Goldwyn- 

Mayer 




LOVE'S 

BLINDNESS- 

Metro- 

Goldwyn- 

Mayer 



DISAPPOINTING stuff from a once great director, this 
latest Rex Ingram production is entertainment only if the 
morbid and unhealthy are of interest to you. Adapted from a 
story by Somerset Maugham, it tells of Margaret Dauiicey, 
who would have been a nice gel except for a magician's evil eye. 
The cast, with the exception of .'\lice Terry, who gives a color- 
less performance, is as foreign as the backgrounds. Decidedly 
not for children. 



WRITTEN, supervised and dominated by Elinor Glyn. 
Pauline Starke is the latest heroine who was groomed to 
Glyn's style of London society. The same as every other 
Glynish affair, only the character names are changed — bought 
love, baronial halls and finally the awakening of true love. 
Will Madame Gh'n never get over those atrocious wedding 
night scenes, and can't her girls ever be anything but stately 
affairs? We wouldn't be annoyed if we were you. 



SYNCOPAT- 
ING SUE— 
First National 




RED HOT 
HOOFS— 
F.B.O. 



OYNCOPATING SUE pounds the piano in a Broadway 
•-^music store. Her beau is a trap drummer. Sue aspires to 
act and gets her chance when a theatrical manager, whose 
offices are above the shop, begs her to stop her playing. She's 
a terrible 6op at her first rehearsal, but when the manager be- 
gins flirting with her little sister. Sue stages her big scene. 
Corinne Griffith is delightful as the gum-chewing wage earner. 
Good entertainment for the whole family. 



DON'T mind the title. It's just another of the perfectly 
delightful pictures that feature Tom Tyler and Frankie 
Darro. A heavy-weight champ offers one thousand dollars 
to anyone who can stay three rounds w ith him. Tom succeeds 
of course — why? — you just see it and find out. Tom is our 
ideal cowboy — he doesn't go in for embroidered chaps, mono- 
grammed saddles and hand-painted sombreros — but then a 
real actor doesn't need aU that regalia. [ cont'd on page 126 ] 

65 




G^elix 

^ The Black 



r^^ 



^^ 



^^ 



s 



They call it Black Bot-tom A new 



Felix decides that the 
Charleston is passe and 
goes to Ann Pennington 
for a lesson in the Black 
Bottom. In the first 
step, Ann points her 
left foot to the side, 
raising the left heel 
from the floor, bending 
both knees and slant- 
ing her body backwards 



Second step. ''Now, 
Felix, "says Ann,' 'straight- 
en the body, lower the left 
heel and point your toe up 
from the floor. And, Felix, 
sing that song, 'The Black 
Bottom of the Swanee 
River, sometimes likes to 
shake and shiver.'' A little 
more pep, please!" 

56 




"Come on, cat! All set for the 
third step. Face forward, Felix, 
and bend that left knee slightly, 
pointing the left paw toward the 
floor. This is the way we make 
'em sit up and take notice when 
we dance the 'Black Bottom' in 
Mr. White's 'Scandals' " 



Learns 

Bottom 



twis-ter,- It's sure got 'em,And oh, Sis-ter: they 



(Copvrisl.l MCMXXVI bv Il^irms, Inc., N. Y.) 




"Snap into the fourth step, 
funny feline! Stamp that left 
mouse-catcher on the floor and 
bend that left knee. Stamp it 
good and hard. And sing that 
song — 'They call it Black Bot- 
tom, a new twister. They sure 
got 'em, oh sister T" 



"Now, Mr. Cream and 
Catnip Man, after 
stamping forward, drag 
the left paw back across 
the floor. This is one 
of the most important 
principles of the dance. 
Then, for step five, raise 
both of your heels from 
the floor and slap your 
hip. Like this!" 



" Kick your right paw 
sidewards, old back- 
fence baritone, and keep 
on slapping your hip. 
Now run along and prac- 
tice your steps in some- 
one's backyard. Little 
Ann must hurry and 
keep a dinner-date. See 
you at the 'Scandals' " 

67 





""It is great — it is grief — it is marvelous." says 
Fay Wray of her opportunity to play Mit;:i in 
Erich Von Stroheim's "The Wedding March." 
Fay is nineteen, not long graduated from the 
Hollywood High. Von Stroheim found her 
playing heroines in Western melodramas 



58 



Snatched 

k_y from 

Slapstick 



Only last year little Fay Wray 
was playing in film comedies 



By 
Dorothy 
Spensley 



FAY WRAY wore a red hat. She wore it so jauntiK-, so 
assuredly, so sublimely, that even the ghost of Gloria, 
which hovered over and caressed the gold and pale green 
of the Louis Seize furniture, sighed a bit at the beautiful 
assurance of youth. 

She wore a red hat and a black and white checked dress with 
a tight black velvet bodice, and every once in a while that rest- 
less right hand would wander from the soft rose of her lips to the 
topmost button of her frock and then idly flutter to her lap. 

Fay may have been nervous, but only the weaving of the 
right hand betrayed it. 

Fay is Erich \'on Stroheim's latest, and undoubtedly most 
beautiful, discovery. Fay is the little girl who was snatched 
from comedies and westerns to play a leading role in tragedy. 

Just nineteen and Canadian and very beautiful — that is Fay. 
Beautiful in that pale oval-faced way, with almond shaped 
eyes, unslanting, with tapering brows, a mouth all tender and 
rosy, and long, lustrous dark hair. 

Last year playing with Janet Gaynor and Olive Borden in 
Hal Roach comedies, where. Fay quaintly says: "They tried to 
make a curly-haired-littlc-girl-housewife out of me, and I could 
only see the housewifely part of it. So, really, I wasn't very 
good." 

Last month playing in Westerns, being rescued by valiant 
Universal cowboys. 

This month playing in tragedy, deep and continental, with 
people like ZaSu Pitts, Dale Fuller, George Fawcett, Maude 
George, George Nichols, with Erich \'on Stroheim both acting 
and directing. 

That is the stor\- of Fay Wray who pla>-s Milzi in "The Wed- 
ding March." 

Fay's red lips parted in amazement. Was it great to work 
with \'on Stroheim? 

"It is great ... it is grief ... it is rflarvelous!" 

And her voice made it a tone-poem of joy. A lyric of feeling. 

" I knew all along I would get the part. I had always wanted 
to work under Von Stroheim's direction. I knew I would 
sometime, if it was right. And it was right." There is a candor 
in Fay's voice. Candor in her grey eyes. She is child-like, but 
not childish. Young, but not infantile. She has a direct 
simplicity which is pleasing. 

"When I went to interview Mr. Von Stroheim about the 
part I was frightened, maybe, just a bit." The restless right 
hand Hew to her firmlv rounded [ coNTiNtrED os' page 119 1 



tA*«^ieiH!Mi!li««K^V«KiiBC':-'i-„«l(t«SS«^^ 




WHEN Erick von Stroheim selected Fay Wray for the leading r61e in "The Wedding 
March," Fay burst into tears. That's the feminine way of registering pleasure. 
On the opposite page, you will find Dorothy Spensley's story of this newcomer. 




One. This little 
cupid is still aiming 
at men's hearts. 
She is one of our 
much "engaged" 
stars. 




■pnH 


■■ 




Hj 


Wtp^B^^ 


i^^V^>SB 


wr^-\ 


c 


% 


1 


"~^ nQ^^^^^^^^M^HH 






Four. Married to one of our 

best directors and a star in 

her own right. Wasn't she 

a lucky baby? 



Three. This gorgeous blonde capped a 
comedy career by playing in one great 
picture. Since then she has been A. W. O. L. 



7wo. A Copenhagen 
photographer took this 
picture, but the face is 
now registering high- 
class villainy for Amer- 
ican cameras. 



Five. If you'll study the eyes carefvfily, 

you'll guess this one. Because this baby, 

aged 6 months, looks like the star you've 

seen in hundreds of films. 



Six. The curls 
are now bobbed, 
the ribbon's gone, 
the hat has grown 
smaller, but the 
blue eyes and 
mouth are just 
the same. Why, 
of course, it is — 





Were these hahies 
horn under a 

lucky "^tar? 



Answers on Page ii8 





Seven. Her mother never 

thought she'd turn into a 

great beauty. But you can 

never tell. 



Eight. She is not so solemn these days. This 
young person is now a smiling and popular 
ingenue. Good-bye to the old gingham apron! 





Ten. Always the 
elegant lady. 
Always the calm, 
clear-eyed beauty 
with all the poise 
in the world ! 



J^ine. The shoes hurt, 
the curls were humiliat- 
ing. No wonder this 
lad grew up into a fight- 
ing hero who special- 
ises in outdoor operas. 



Eleven. Sun- 
bonnet Sue is the 
bride of a much- 
praised director. 
This shows her 
when her ambi- 
tion was to gradu- 
ate into theFourth 
Grade. 




Twelve. The Sunday School teacher s 

delight. Those dark eyes and that 

determined mouth came in handy when 

this boy broke into the star class. 




< 




;:«^TS*'--'*-*-^ 



..t^aSMOkniu 



WHEN F. W. Mumau surveyed the field at the William Fox studio, he immediately 
chose Janet Gaynor for the leading r61e in "Sunrise." Read what Ruth Water- 
bury has to say about Miss Gaynor's rise to prominence. 



'^hJiy Girl Who is Gettini 
the Breaks 



She's a red-headed kid 
named Janet Gaynor 

• 

By Jean Millet 



I AM wondering a great deal about Janet Gaynor's future. 
Consider what she has done in a single year. 
For months every ambitious young actress in Hollywood 
has been after the part of Diane in " Seventh Heaven." It is 
regarded as one of the choicest acting parts of the season, one of 
those marvelous chances for characterization, a beaten, down- 
trodden girl of Montmartre who is transformed by love into 
beauty and courage. A wonderful part. Many a famous name 
in Holl\-wood made a screen test for it. 

Janet Gaynor got it. 

Just before that the pack was chasing for parts in Murnau's 
first American picture. Murnau, who directed Jannings and 
made "The Last Laugh," couldmakeanartist of anyone, it was 
said. He had written the story himself, needing a cast of only 
three, a wife, a husband, another woman. A picture titled 
simply "Sunrise." What a part for an actress, a young, in- 
articulate peasant wife opposed to the other woman. The sort 
of thing critics always praise. The publicity of being under 
Murnau's direction. What a chance! Everyone went after it. 

Janet Gaynor was selected, by Murnau himself. 

Prior to that, there was the role of Katie in "The Return of 
Peter Grimm," an emotional part in a distinguished, compelling 
story, a special production. 

Janet Gaynor played Katie. 

Now, a single lucky break happens with fair frequency 
in Hollywood. Betty Bronson won "Peter Pan." 
Billy Haines got his " Brown of Harvard." Ronald 
Colman had " The Dark Angel." But such a break is 
luck, and little else. 

But three breaks, one after the other, three roles 
in important productions, all very difficult, each 
different from the other, that is not luck. That 
is acting ability. 

Not only has Janet Gaynor won these three 
roles in a single year — but she had won them in 
her second year in pictures. She didn't even 
attempt to break into movies until December, 
1924. 

That was shortly after her graduation from 
the Polytechnic High School of San Francisco. 
Janet's stepfather was called to Hollywood on 
business. The family decided to settle there. 
It was suggested that it would be nice if Janet 
were to get into pictures. So she did get in. 

I don't know, after having spent nearly a 
whole day with her, why she did get in. She 
isn't beautiful. She isn't talkative. There is 
none of that swift flash of personality about her 
you get about a dozen girls playing bits in the 
studios. She's a darling kid. Absolutely. 
Nice as a glass of milk. But the fact 
remains that Janet, without influence or 
backing, went in among the beauti- 
ful girls storming Hollywood and 
came out triumphant. She got extra 
work and within six months she 
was playing leads. They were only 

[ CONTINUED ON PAGE 1 1 7 ] 



/ 




Janet Gaynor has won three big roles in a single year 



6S 




OVIE "Bits" to Grand 

Mary Lewis couldn't make good in the 

pictures, so she had to become a grand' 

opera star 

By Alfred A. Cohn 



MARY LEWIS wasn't exactly kicked out of motion pictures 
into grand opera fame. She might still be cavorting before 
the unresponsive camera at the Christie studio in Hollywood 
lor S75 per week. 

She might even have progressed to a salary twice as much as that 
princely sum. 

But, strangely enough, JIary Lewis was not ambitious to be a screen 
star, which accentuates her unusualness. 

Iklar\' Lewis, with still a long way to go before she reaches the mature 
age of thirty, is the cinema's first human contribution to grand opera 
on record. 

And if the name is unfamiliar to you, it might be elucidated that 
Mary Lewis shared honors with JIarion Talley as twin discoveries of 
the last season at the Metropolitan Opera. 

That is an identification that would be honored anywhere that lovers 
of music are to be found. 

Sbc years ago Mary went to work for the Christie brothers at S60 a 
week. 

She had been on the stage before that, singing in a revue show which 
had been playing in Los Angeles. 

One of the girls at the Christie studio had brought her to the lot one 
day and introduced her to W, who, dazzled by Mary's dimples and 









This is NOT from an opera. It shows Mary Lewis and Eddie Barry 

in "The Ugly Duckling," a Christie comedy. Left is Mary as a 

Christie Bathing Girl, 1920 edition 



6i 



Opera Star 



buoyant personality, told her that any time she 
wanted to quit the stage he would give her a job 
— that is, if a salary of about S60 a week would 
interest her. 

The show went out on the road and Mary, 
tiring of one-night stands, wired from Ogden, 
Utah, that she was ready to become a motion 
picture star. 

The newspapers have referred to Miss Lewis as 
a former bathing girl, but that is not an exact 
statement. 

Mary did occasionally appear — and to excel- 
lent advantage — in a one-piece garment. But she 
actually played parts — even leads opposite such 
well known young gentlemen as Neal Burns and 
Bobby Vernon. 

Eventually her worth was recognized and her 
salary gradually climbed, until it reached §75 a 
week. 

But all this time Mary was busy keeping up her 
singing. 

She started it back in Arkansas where she was 
born about 25 years ago — maybe less. She had 
always wanted to be an operatic star, but very 
few of her friends knew of her ambition. One 
day she told Al Christie that she was going to 
New York. 

Slie was sure that she would never be a great 
film star anyhow. 

" I can always get a job in the chorus," she re- 
marked. 

And so she was on her way to our capital of the 
Fine Arts. 

M.\RY landed in New York, like the boy in 
any Horatio Alger story, without a friend 
in the great, lonely city. 

She got a job in the Greenwich Village Follies 
and started rehearsing with the chorus of that 
company. 

When the show opened Mary was singing the 
principal songs. 

A year later she was prima donna — or whatever 
they call the chief feminine vocalist in the Zieg- 
feld Follies. 

She became a Broadway favorite and then 
sudderdy, after two seasons, disappeared from 
the white lights. 

The average theatergoer thought that she had 
probably twinkled out, like many another promis- 
ing star. But — 

A year later cable news dispatches from Vienna 
told of the sensational success of a young Amer- 
ican, Mary Lewis, who made her operatic debut 
as Marguerite in " Faust." 

Then after a w-hile came the news she was pla)'- 
ing the title role in Lehar's revival of "The 
Merry Widow" in Paris. 

And a little later the hearts of her friends were 
warmed by the announcement that she was 
coming home. 

The writer was one of the large number of 
Hollywooders who went "back" to see Mary 
after her first concert with the Los Angeles Phil- 
harmonic Symphony Orchestra, at which she was 
given a wonderful ovation. 

It was the same Mary without a trace of prima 
donna affectation, temperament or upstagencss. 
She stood surrounded by floral tributes from 
Hollywood and smiled happily. 

She didn't cry, or say she was thrilled to death 
or any of the things they usually say when the 
local girl comes back a heroine. She just smiled 
and said: 

" Gosh, it's great to see the old gang again." 




Al Christie welcomes Mary Lewis, opera star, back to the 

Christie Studios, where she at one time appeared before the 

camera 

65 




Donald 

Ogden Stew^art's 

GUIDE to 



..erfect Behavior 

Continuing the Famous Humorist's Confidential Tips 
on Motion Picture Technique — or V^hat Have Tou 



Is this the synopsis of the preceding chapters? 
Mr. Stewart says it is 

LEW CODY and Norman KerPi', two ambitious boys, 
decide to give up stamp collecting and go to Holly- 
wood to try their luck at the new discovery called 
"moving pictures." They keep only a few stamps for 
their own personal use and set out. Three weeks later they 
arrive in HoUx'wood, exhausted after their struggle with the 
elements. The elements don't feel any too good themselves, 
so all start out together to get something to drink. There is 
nothing to drink except beer, gin, brandy, Cointreau and a 
Mexican drink called Haig and Haig, so about midnight they 
send Xorman out to get a taxi. 

"Where can I get a taxi?" he asks a passing stranger. 
"I'm just a passing stranger," is the reply, and he soon 
disappears from sight. Xorman is discouraged, but decides, 
however, to try just once more. 

66 , 



"Where can I get a taxi?" he asks the next stranger he meets. 

The stranger laughs. 

"There aint any taxis," he replies. "This is just a one horse 
town." 

Norman despairs, but decides to risk all. 

"What is the horse's name?" he asks. 

"Ethel," replies the stranger. 

Norman returns to the cafe and asks Lew if he knows any 
horses named Ethel. Lew consults his address book and 
shakes his head. They are both discouraged at not finding 
Hollywood the magic dream city they had hoped and both 
think of suicide. Their depression spreads and everybody 
in the lunch room thinks of suicide. Lew and NorAan decide 
that maybe things will be brighter in the morning and they 
start out to get some sleep. Lew has the name of a hotel 
called the .Ambassador, so they go to a small boarding house 
and take a room. 

They fall asleep instantly. 




These begin a series of "discus- 
sions' ' as to what particular actor 
or actress would be best available 
for the part. These "discussions" 
generally take place in a very 
friendly and congenial atmos- 
phere 



in Hollywood 



About two o'clock they are awakened by the landlady, who 
wants to know if either of them is named Lockhart. They 
reply ''\o" and go back to sleep. An hour later they are 
once more awakened and the landlady says that the name 
wasn't Lockhart, it was Leonard. They say "all right" and 
go back to sleep. Half an hour after that she wakes them up 
again to tell them that the name wasn't either. Lockhart or 
Leonard, it was Stevens. The landlady is hit over the head 
with a chair and, w*hen she comes to, Lew and Norman have 
disappeared. She cannot remember who she is. Her mind has 
become a blank, so she decides to write scenarios. She soon 
develops into one of the leading scenario writers in Holly- 
wood, and becomes ambitious to learn to read and write. This 
leads to spelling, and in her desire to find samples of correctly 
spelled words she comes across the plays of Shakespeare. 
Several of the plots of these plays resemble her own scenario 
plots very closely and the thought suddenly occurs to her that 
she is Shakespeare. The more she thinks about the subject, 
the more certain she becomes of her real identity. Finally 
she decides that the time has come for her to reveal her great 
secret to the w-orld and, at a meeting of scenario writers, 
stands up and tells them who she really is. Consternation 
reigns among the other scenario writers, each one of them was 
just on the point of announcing the very same fact about 



him- or herself and a bitter argument ensues. In the con- 
fusion the former landlady is once more hit over the head with 
a chair and, when she again becomes conscious, it is discovered 
that a miracle has been performed and that the second blow 
has restored to her all her mental faculties, so she gives up 
writing scenarios and lives happily ever after. 

Meanwhile Lew and Norman have gone out to look for 
work and on their way they pass a drug store which has for 
sale a copy of Photoplay, containing a series of articles b\- 
Donald Ogden Stewart, entitled "Perfect Behavior in Holly- 
wood." They sit down and start to read Chapter VH and as 
they read they become very, very depressed and the\' both 
begin once more to think about suicide. 

Now go on with the story. 

CHAPTER VII 

Preparing to Shoot 

Last month we discussed the preparation of a "rough" con- 
tinuity. This month we shall consider that all the preliminary 
work has been fim'shed and that the final continuity is in the 
hands of an expert writer whose duty it is to smooth away 
all the rough edges and add those little finishing touches which 
only a genius can. In the twelve [ coNTraxjED on page 93 ) 

67 





he Greatest Story 



Cecil De Mille breaks, 
away from all screen 
traditions in picturing the 
Life of Christ 



r 




T is such a tremendous stoni- that, up until now, no one has 
dared attempt it. 

Other producers longingly wished to do it, but put it 
side. 

They feared religious prejudice. 

They were afraid that some unwitting irreverence would 
bring down a storm of protest upon their heads. 

They were afraid that the screen was not big enough or 
fine enough or clean enough for the figure of Jesus of 
Nazareth. 

But now Cecil B. De Ulille has plunged into it — 
the story of Christ, the King of Kings. 
Slowly, the great spectacle is taking shape. 
.\nd Hollywood watches De ilille with 
mingled emotions. 

There are, of course, the usual jokes 
which aren't intended to be irrev- 
erent. .\nd there are tales of 
the strange, religious atmos- 
phere at the studio and on 
location. 
For instance: the com- 
pany begins work every 
morning by singing 
"Onward, Christian 
Soldiers." Well, if 
other companies 
work to the broken 
rhythm of George 
Gershwin, why not 
the ringing strains 
of .Arthur Sullivan? 
.\nd they say that 
De Mille has or- 
dered his players and 
the workers on the 
sets to read the Bible 
during their spare mo- 
ments. 
But they are "e.Ktras" 
and pkyers of small bits 
who read theBible prayer- 
fully and gratefully, be- 
cause the vast mob scenes 
of the spectacle have saved 



"Suffer little children to come 

unto Me, and forbid them not : for 

of such is the kingdom of Heaven." 

From the Gospel, according to Luke ; 

chapter 18, verse 16. A poignant 

moment in the stor>' of "The King of 

Kings," enacted by H. B. Warner 



68 




Andrew 

ployed by 

David Imboden 



PhiHp 

pkjyed by 

Charles Belcher 



James the Less 

played by 
Charles Requa 



in History 



a lot of poor actors 
and actresses from a 
hard winter. 

In order to keep in 
the spirit of the story, 
H. B. Warner, who 
plays the Christ , occu- 
pies a dressing-room 
far away from the 
rest of the company. 
He keeps aloof and 
secluded from the 
other members of the 
cast. 

As for Mr. De 
Mille, he is banking 
bis personal fortune 
and his professional 
reputation on this 
picture. "The Ten 
Commandments" was 
produced on some 
one's else checking 
account. "The King 
of Kings" is De Mille's 
own affair. 

De Mille wants to 
present this story of 
Christ, notasadrama, 
but as a pure analysis 
of shining idealism. 
He has carefully elim- 
inated some of the 
miracles — the loaves 
and fishes, for instance 
— as being "too phys- 
ical." And in the 
scourging of the 

money-changers in the Temple, there is no actual, physical 
scourging. 

And in the use of animals in his scenes, he has worked out 
some effective symbols. The Virgin Mary is surrounded by 
white doves to symbolize her purity and innocence. Mary 
Magdalene appears first with the leopard and then with the 
donkey. The leopard indicates her pride; the donkey, her 
humility. The humble people are pictured with oxen and 
other beasts of burden. The self-satisfied Judeans are repre- 
sented with camels. 

In order to avoid the charge of "interpreting" the story to 
suit himself, only Biblical quotations will be placed in the 
mouth of the Christ. And these excerpts wiU follow the King 
James version of the Bible, even to punctuation marks. 

While there will probably be episodes in the early life of 
Christ, De Mille will devote most of the picture to the events 





Judas 
the Traitor 
played by 
Joseph Schildkraut 



It is the human story of the Fisherman on the Sea of 
Galilee — the carpenter's son — that De Mille wants to pre- 
sent to screen audiences, in all its radiant idealism and in 
all its bitter tragedy 



of the last si.x months 
of the life of the Re- 
deemer. At least, De 
Mille is concentrat- 
ing, for the most part, 
on the tragically 
splendid climax of 
Christ's life. 

De Mille has sur- 
rounded himself with 
a group of actors best 
suited, facially, to 
portray the Biblical 
roles in this much 
publicized special. 

Joseph Schildkraut 
will be seen as Judas 
— the Judas who sold 
the Messiah for thirty 
pieces of silver. It is 
a role of tremendous 
opportunities. 

Other Biblical roles 
will be taken by 
Ernest Torrence, 
Joseph Striker, 
Robert Edeson, 
Tames Neill, Sidney 
b'Albrook, Robert 
Ellsworth, David 
Imboden, Charles Belcher, Charles Requa, John Prince, Clay- 
ton Packard, and Mickey Moore. 

Jacqueline Logan has been cast as Mary Magdaleiw — the 
glamorous role of the famous siren who repents. Lucio Flamma 
will be seen as one of her lovers. 

And much interest has been aroused by De Mille's selection 
of Dorothy Cumming to play Mary Ihe Mother, and Muriel 
McCormick as a little blind girl. 

De Mille has come some distance since that day. only a 
few years ago, w'hen one "daring" theatrical producer de- 
picted Christ's presence bv means of a svmbol — a rav of 
light. 

Meanwhile, no one knows how far De Mille has succeeded in 
his imposing purpose. 

So Hollywood watches with great interest — and not a 
little awe. 

69 



Proving that none are so blind 




Illustrated by 
Carl Van Buskirk 



By 

Michael Dean 




JOAN RAMSEY 
sat in one of the 
boxes overlooking 
the great ballroom in Jason 
Wellington's London house. 
The occasion being the annual charity 
concert, the magnificent old room, packed 
to capacity, offered a scene long to be re- 
membered. 

Beneath her eyes moved an ever chang- 
ing kaleidoscope of life and color. The 
vari-hued gowns of the women, the somber black and white 
evening dress of some of the men, the gold lace of the uniforms, 
against the black and gold hangings — all reflected in the many 
mirrors lining the walls by the light from hundreds of candles on 
the huge chandeliers. It was like a vivid picture in color, 
thrown across a silver screen. 

In her gown of burnished gold, Joan fitted perfectly into the 
color scheme, but her usually pale face was dead white under 
the copper hair, and the hazel eyes were dark, fathomless pools. 

Her eyes constantly watched the door as she listened to the 
running fire of conversation her companion kept up. And she 
was deeply thankful that he seemed not to notice her unusual 
silence. 

She wondered what time the Wellington party would arrive 
with the latest "Lion of the Hour." Jason Wellington, world 
famous impresario, was constantly presenting new lions. But 
why this man of all others? She shivered slightly. 

"Cold?" her companion questioned. 

"No, hardly." She managed to laugh carelessly. "A rabbit 
ran over my grave, I guess." 

70 



"You Americans are ever 
droll! " the lazy, drawling voice 
continued; then after a little pause; "This musician, 
.■Vlden. who is playing tonight — is an American. He 
hails from somewhere in your South; ever meet 
him?" 

Again she laughed. " My dear Mr. Carlton," she said, a 
petulant note creeping into her voice, " the South covers quite a 
large area in America. And, as I have not lived there for nearly 
twenty years, there is not the slightest reason why I should have 
met Mr. ,Alden." 

"Oh, absolutely none," he hastened to answer, surprised at 
her sudden iU humor. What was wrong with her tonight? 

" Of course, I have heard of him," she added. " Heard of his 
rise to fame — who has not? " She hesitated for the fraction of a 
second, then continued slowly: "But I did not know that he 
was blind until tonight. My husband is attending the dinner 
Mr. Wellington is giving for him." 

"Yes," Carlton returned, "very sad case. Man with his 
talent struck blind. Well, the war played havoc with so many 



a s 



those 



w 



h 



w I 



II not 



see 



of the great. Plucky chap, too, they tell me. Hard to believe 
him blind. Does almost everything for himself. He certainly 
has the public sympathy — I never saw such a crush at one of 
old Jason's concerts before, eh, what?" 

"It is a wonderful sight, really," she told him. "I " 

A sudden commotion near the door interrupted her. The 
buzz of conversation dying out as the crowd stirred, trying to 
catch sight of the blind violinist who was arriving with Jason 
Wellington. 

Joan did not have to look — why bother? She knew what she 
would see — a tall, fair man with a too-perfect face — dark, 
visioning eyes. . . . Ah, but those eyes could not see! They 
would never see again, Carlton had said — therefore, they could 
not sec her. . . . Something like a sigh of relief escaped her at 
the thought. 

With a vague, terrorized resentment, she sat unmoving as 
Wellington's party made its way across the room. She did 
not feel as if she coiJd ever move again. She had been so 
happy — so secure — and now, Peter after all these years. 
Yes, it was Peter; little changed by time, as a parting of the 
crowd revealed his tall figure. 

How vividly the sight of him recalled those far-away 
days in America. Days when he had been an unknown 
violinist and she . . . She let the thought die unfinished — 
it was too terrible! 

Oh, how she hated to think of that time! Of her 
anguish on receiving his letter, telling her that he was leav- 
ing her — that he had the chance to make a name for him- 
self and that she would be a drag on him — would hold him 
back. .After all she had done for him — sacrificed for him. 
The years of struggling to forget — to put him out of her 
life. Then the war — and the chance to forget by work — 
hard work, nursing in a hospital in France. Later her 



marriage to Allen Ramsey — and now, this envied life as the wife 
of one of the greatest surgeons of the day. 

Was it all to be swept away — love — respect — position — by 
that one mistake of her youth? 

Again the thought of his blindness came to her. If he could 
not see her — recognize her — wh)' need she be so terrified? Her 
name, Mrs. Ramsey — would mean nothing to him, even if she 
should be forced to meet him. But why had he come back into 
her life at all? She knew something terrible would come of it! 

Her husband joined them — giving her a keen glance. 

"What's wrong, Joan?" he questioned. "Tired, dear?" 

"No, indeed," she assured him hurriedly. "Just a little over- 
come at the crowd. It is certainly a wonderful sight." 

Carlton left them, and .\llen slipped into his vacant chair. 

"Yes," he agreed, "these charity concerts bring out many 




Once again they played the Liebesfreud — Love's Joy. . . . How many, many 

times she had played it in the old days. . . . What an utter, ghastly joke the 

whole thing was. Would she ever feel safe again ? It was hard — hard 

71 




"If the operation is suc- 
cessful?" he echoed 
vaguely. "But it can not 
be. I shall always be 
blind. And none are so 
blind as those who will 
not see — " His voice 
trailed off again into 
silence 




interesting people — noted people. This blind violinist seems to 
have drawn the Uirgest crowd ever. Fine looking man — tragic 
case. By the wa\-, \\'ellington wants me to have a look at him 
the iirst of the week. Mean a wonderful thing for me — for the 
w-orld — if I could do something for him. Wouldn't it?" 

The terror that she was holding at bay by will-power was 
flooding her again, and she tried desperately to keep it out of her 
voice as she answered his question. 

"Yes, .\llen," she said, very low, "it would be wonderful! 
But Mr. Carlton said ..." 

A sudden hush fell over the room as a man took his place at 
the grand piano. 

Then, Peter stepped out on the stage. 

Raising his \'ioiin — tucking it under his chin with the little 
caressing motion she remembered so well — he drew the bow 
across the strings. 

To the tense woman, it seemed almost as though he had 
drawn it across the strings of her heart. . . . 

And then came music! Wonderful music! Music that 
soared through the huge room, rising in mounting crescendo — a 
glorious paean of triumph — then, diminishing slowlj' — softer, 
ever softer, until it became little more than a whisper — Great 
Music! 

Joan felt that her heart must surely burst. Why had he 
chosen the Liebesfreud? It was almost uncanny! Almost as if 
he must know that she was there — and, in knowing, meant to 
taunt her. 

She closed her eyes; her mind drifting back to the first time 
she had heard him play it. They had been sitting in the purple 
dusk; Peter playing the beautiful old melody. Suddenly, lay- 
ing down the violin, he had crossed to her side, and, dropping on 
the floor at her feet, had lifted his face to hers. 

"Joan!" He had whispered her name as if it were a prayer. 
"You know that I love you — that you are everything to me. 
Tell me that you will not leave me — ever; that you love me." 

" I do love you," she had told him, glorying in the fact that 
even as she loved, so was she loved in return. 

He had taken her in his arms — she could feel them around her 
now. . . . Oh, why didn't he stop? She would scream — she 
couldn't stand it, she knew. She would . . . 

Suddenly she became conscious of .^lien's voice; it seemed to 
come from a great distance. 

Desperately, she drew her dazed thoughts back; fighting to 
catch hold of herself. . . . 

72 



"Joan, dearest, what is the matter?" he was saying. "You 
are so white; do you feel sick?" 

She managed to smile at him. 

"Don't worry, .-Mien," she said, trying to steady her voice. 
"There is nothing wrong — only the heat in here is rather 
terrible, you know." 

Gently, he smiled his relief. 

"Well, if that is all, we can very soon remedy it. Come on 
out on the balcony, and you can still hear the music, even if you 
can't see the musician." 

Thankfully, she permitted him to lead her away. .Anything 
to get away from the sight of that tall, straight figure. Maybe 
it would not be so terrible when she could not see him. 

As she followed .^llen, she found herself comparing him, for 
the first time, with Peter. 

He was a tall, spare man, well past his youth. His stern face 
lighted by piercing gray eyes under hea^fy black eyebrows and 
a singularly sweet smile. He had been wonderfully successful; 
giving up a brilliant career as an eye specialist during the war to 
use his great skUl toward helping the men blinded and torn in 
battle. 

.•\nd now, Peter, Peter of all people, was also to be given 
the benefit of that skiU. 

They had been so happy — so contented. 

Why had this man come to bring the awful, dreaded, closed 
past to life again? 

"This better?" Allen was saying as he drew a low wicker 
chair near one of the long windows opening into the ballroom. 

"Just right!" she smiled at him; then drawing his head down 
for a swift kiss: "Oh, Allen, what would I do without you? 
You are always so good — so thoughtful for me." 

He gave her a fond, tender look. 

"Jo'an," he said softly, using the familiar French pronuncia- 
tion of her name, "if you only knew how happy it makes me to 
hear you say that. You are so lovely — so w-onderful — to care 
for an old ..." 

But she stopped him, laying soft fingers across his mouth. 
Somehow, this evening, she felt so unworthy. If she had only 
told him; had only thrown herself on the mercy and under- 
standing of his love. . . . But would he have understood? 
Would his love have stood the test? Xo matter what a man was 
or what he had done, the mere fact of him being a man made 
a;iy//;iH;; all right. . . . But a woman? .\h, that was different! 
She had been afraid to risk her | continited on p.\ce 102 ] 




The Lark 

of the Month 



BESSIE LOVE has her hair cut more like a boy's than any 
other girl in Hollywood. And Bessie is such a youthful, boy- 
ish looking person, anyhow, that the combination got her into 
trouble recently while she was travelling. 

Waking up in the middle of the desert on a very hot night, 
Bessie found that the porter had forgotten to put any ice in the 
cooler in her drawing room. Slipping on her little striped flannel 
dressing gown, and her moccasins, Bessie went through the car to 
the ladies' dressing room in search of a drink. 

Just as she started to open the door, a loud masculine voice 



hailed her, and, turning, she saw a big, burly brakeman, who 
shouted: 

"Hey, son, you can't go in there." 

"Oh, yes, I can," said Bessie sleepily, and once more started to 
open the door. 

Whereupon the brakeman grabbed her arm and swung her 
around, at the same time hollering, "Ain't you ashamed, a big boy 
like you. I won't let you go in there." 

It took Bessie some time to convince him of her proper sex, 
whereupon it was his turn to be embarrassed. 

73 





ay § 




' I "HIS Shopping Service is for your benefit and we urge you to 
-*■ use it. Its facilities are at the disijosal of ever>- PHOTO- 
PLAY reader whether a subscriber or not. Send check or 
money order together with size and color desired. STAMPS 
WILL NOT BE ACCEPTED. No articles will be sent C. O. D. 
If you are not pleased with any purchase return it immedi- 
ately and your money will be refunded. IMPORTANT: 
Articles for credit or exchange must be returned direct to 
Photoplay Shopping Ser\'ice, 22 1 West 57th Street, New 
York City, and not to the shop from|which they were sent. 



Perfect for winter sports is this 
smart little suit shown by \'era 
Reynolds, of suede coat, warmly 
lined (rifh cashmere, and matching 
cashmere skirt. In lovely shades 
of rose-red, green and cocoa brown, 
sizes 14-30. S29.50. The becom- 
irjg beret-tam is of suede cloth in 
the same shades and costs S1.6o. 
State headsize 



Dress your bridge table for the 
holidays in the charming bridge 
set sketched below. Of natural 
color pure linen, with colored 
comers and embroidery in blue, 
rose, green, gold or orchid — cloth 
and four napkins cost only $2.95 




For Christmas house parties you icill need 
the enchanting negligee displayed by 
DoHOTHT Mackaill, of chcniUe velvet, 
luJcuHously trimmed with matching os- 
trich, in the foUaum^g shades: Copen or 
light blue, coral, American beauty, orchid 
or peach. Sizes 34-44- SI 3.95 



! i 





H 



Vera Reyxolds roots for sports 
clothes, arid here shows one of those 
indispensable little jersey suits suit- 
able for all-year-round weather. 
Made of excellent quality jersey, 
with the smart cardigan neckline, 
and self-vestee, it comes in Chanel 
red. navy, tan, brick and greeii, 
trimmed with harmonizing striped 
bands, I4-4O. $10,75 



Bags of simulated reptile leathers 
are the vogue and the envelope purse 
and pouch hag sketched below come 
in tan, brown or grey. $2.95. The 
suede gloves come in grey or tan^ 
sizes 5% to 7}i. $2.95 



.-'^N 



7i. 




The smart two-piece busi- 
ness or school frock shoam 
above is of jersey, and has 
three fashion points: the 
sule-clusier pleats in the 
skirt, the conti'asting inserts 
i7i the blouse, and the high 
scarf-coUar. Chanel red. 
green, Valencia blue, tan or 
brown, 34-44- Specially 
priced at $9.75 

The coat frock (second from 
left) of exceptionally slen- 
derizing lines, is made of 
wool crepe, one of the smart- 
est of the season's materials. 
Chanel red, navy, green or 
tan. 14-44- S25.00 

The ubiquitous lizard has 
invaded the field of dress 
materiah. The frock at 
center, above, uses lizard 
patterned velveteens, of soft 
quality, for the blouse, and 
makes the box-plealed skirt 
atid hand on blouse of plain 
velveteen. In tan or brown 
only, sizes 14-^0, price 
■$15.00 



The ivise woman icill pre- 
pare for Christmas parties 
with the georgette evening 
frock at right, in box, whose 
lovely soft lines are becom- 
ing to practically every fig- 
ure. In flame, orchid, 
flesh, maize, green and 
1 white. 36-44- $25.00 



"f 











Directly above is a remarkable 
value in a knitted sweater suit 
of all wool yarn, in tan. green, 
red or blue, with the sweater 
striped in a harmonizing shade 
and plain skirt. S4-44- Only 
■Sd.OOfor the suit complete. At 
tliis price one could invest in 
more than one, to good ad- 
vantage 



Second from right above is a 
charming one-piece frock of 
flat a'epe, ivith the new large 
sleeves, and slave link belt 
across the front. The skirt is 
pleated at the sides. Soft 
green, tan, new blue and navy. 
16-4^. Very modestly priced 
at SI 1.95 



At left is an adorable dance 
frock, of ruffled taffeta, with the 
fitted bodice and full skirt so 
dear to the slim young thing's 
heart. Orchid, maize, flesh 
and green, sizes 14-20. Only 
$15.75 



The Evolution of a Kiss 








Kj 


pm^^ 


~ 




1 








■h 


HV^ jB^ 


^ 




■ 




y»7^» 


1 


I, J^l 


i^m^ 


^^ 



.(P 




Here is what happens to Jack 
Gilbert when he demonstrates 
the technique of a kiss to 
Greta Garbo in "Flesh and the 
Devil.''' Guess what role Marc 
MacDermott plays. Her hus- 
band? Right the first time. 
Draw your own moral 




Photoplay Magazine — ^Advertising Section 



17 




t/f pair of silver jars filled with Pond's Cold 
and Vanishing Creams^ which .^ueen Marie 
keeps for constant use on her dressing table. 

Pond's Creams are also highly praised by 

Her Majesty^ the Queen of Spain 
The DucHESSE de Gramont 

The pRiNCESSE Marje de Bourbon 

Mrs. Nicholas Longworth 

Mrs. Reginald Vanderbilt 

Miss Anne Morgan 



-^ 



No ROYAL GUEST who has ever visited 
America has been so widely acclaimed 
for her beauty as Queen Marie. Youth is 
hers— and great vitality, in spite of years 
crowded with strenuous activity. She has a 
beautiful skin — unlincd, firm, fresh, with 
lovely natural color! A skin which speaks 
for itself of the wise care Her Majesty has 
always given it. 

Over two years ago, Her Majesty, writing 
from Bucharest, was pleased to permit the 
Pond's Extract Company to quote her 
words expressing her faith in the efficacy 
of Pond's Two Creams. 

A subsequent letter, written in February 
1925, says: "Her Majesty wishes me to re- 
peat that as to Pond's Cream, it gives her 
daily greater satisfaction." 



If you don't already know and depend upon 
these delightful Creams of Pond's try them 
for yourself, without cost, by clipping and 
mailing the coupon below. You will receive 
free sample tubes of each with instructions 
for using. Pond's Cold Cream tor the deep 
cleansing that keeps the skin supple, fresh, 
young; Pond's Vanishing Cream for soft 
protection and lovely evenness of finish. 
Send in the coupon today. The Queen of 
Roumania's loveliness may also be yours. 

The Pond's Extract Company, Dept. N 
114 Hudson Street, New York City 
Please send me free tubes of Pond's Two Creams. 



Name- 
Street— 

City 



When you write to ailvcrtisera please meution mOTOPLAT MAGAZINE. 





N spite of her famous name, Dolores Costello was once a chorus 
girl, an "extra" looking for work, a player of "bits." Then John 
Barrymore saw her and recognized her potential greatness. And 
now comes the trace of a romantic plot: Barrymore and his wife, 
Michael Strange, are enjoying one of those "friendly separa- 
tions." They say that John's admiration for the frail and aloof _ 
Dolores is tinged with a more romantic feeling. So check up 
another victory for the screen in its controversy with the stage! 




Leadership 

"All Curtiss Candies are good candies. 
The same wonderful quality which 
has earned for Baby Ruthnational 
popularity and undisputed domi- 
nance in its field, will be found in our 
other popular sellers — Peter Pan, 
Milk Nut Loaf, Ostrich Egg and 
Cocoanut Grove. 

They are all pure and wholesome for 

they are made of fresh milk, pure 

sugar, crisp nuts and rich chocolate." 

Otto y. Schmring, 

President. 

CURTISS CANDY COMPANY 





m 



^hen the tree is 
trimmed for the great day — ^hen the 
peace and good cheer of 
Christmas are almost here 

— have a Camel! 




Camels represent the utmost in cigarette quality. The choicest of 
Turkish and Domestic tobaccos are blended into Camels by master 
blenders and the finest of French cigarette paper is made especially 
for them. No other cigarette is like Camels. They are the over* 
whelming choice of experienced smokers. 



When the stockings are 
hung by the mantel. And 
the children's tree is ablaze 
with the gifts and toys for 
tomorrow's glad awakening. 
When joyously tired at 
midnight you settle down 
by the languishing fire — 
have a Camel! 

For to those who think of 
others, there is no other 
gift like Camels. Camel en- 
joyment enriches every busy 
day, increases the gladness 
in giving, makes life's antic- 
ipations brighter. Before 
Camel, no cigarette ever 
was so good. Camels are 
made of such choice tobac- 
cos that they never tire the 
taste or leave a cigaretty 
after-taste. 

So on this Christmas Eve, 
when your work for others 
is done — when you're too 
glad for sleep with thoughts 
of tomorrow's happiness — 
have then the mellowest — 

Hare a Camel! 





Remember your few 
closest friends with a 
supply of Camels for 
Christmas Day and the 
days to come. Mail or 
send your Camel cartons 
early, so that they will 
be delivered in ample 

time. 

R. J. Reynolds Tobacco 

Company 

Wmilon.Salem, N. C. 



QUESTIONS &? ANSWERS 



Read This Before 
Asking ^luestiotis 

You do not have to be a 
reader of Photoplay to have 
questions answered in this De- 
partment. It is only necessary 
that you avoid questions that 
would call for unduly long an- 
swers, such as synopses of plays 
or casts. Do not inquire con- 
cerning religion, scenario writ- 
ing, or studio employment. 
Write on only one side of the 
paper. Sign your full name and 
address; only initials will be 
published if requested. 




Costs and Addresses 

As these often take up much 
space and are not always of in- 
terest to others than the in- 
quirer, we have found it neces- 
sary to treat such subjects in a 
different way than other ques- 
tions. For this kind of informa- 
tion, a stamped, addressed 
envelope must be sent. As a 
further aid, a complete list of 
studio addresses is printed else- 
where in this Magazine every 
month. Address all inquiries 
to Questions- and Answers. 
Photoplay Magazine, 221 W. 
57th St.. New York City. 



Question Box. — Sure, I remember the old 
nursery rhyme. I am Mother Goose's young- 
est son. But, Miss Changeable, I wouldn't get 
your goat for anything. May McAvoy has 
blue eyes and brown hair. She is four feet, 
eleven inches small and weighs 94 pounds. 
Born in New York City in 1901. Florence 
Vidor has brown hair and eyes to match her 
hair. She was born in Houston, Texas, in 1895. 
Five feet, four inches tall and weighs 120 
pounds. Norma Shearer is a Canadian, native 
of Montreal. She has blue eyes and light 
brown hair. Weighs 112 pounds and was born 
Aug. 10, 1904. Adolphe Menjou has dark blue 
eyes and brown hair. He is five feet, ten and 
one-half inches tall and weighs 155 pounds 
Born in Pittsburgh, Feb. 18, 1891. Question 
Box is right! 

G. D. G., Chatt.-vnooga, Tenn.— The 
critics don't often intentionally knock one star. 
However, if they feel that a star is not doing 
the best work he can, the critics sometimes 
keep at him. Honestly, most critics would 
rather write a boost than a knock. Norma 
Shearer is not married. Gloria Swanson's 
married name is Marquise de la Falaise de la 
Coudraye. She was born March 27, 1898. 
Reginald Denny's next picture mil be "The 
Cheerful Fraud" and Dick Barthelmess' new- 
est will be "The Patent Leather Kid." 

Cherie, Chicago. — " Cherie, cheri je 
t'aime!" Isn't that the way the song goes? 
Address Agnes Ayres at the Hal Roach Studios, 
Culver City, Calif. Miss Ayres was bom in 
1898. Write to United Artists, 729 Seventh 
Ave., New York, for a photograph of Rudolph 
Valentino. 

J. E. F., Pittsburgh, Pa. — You're a hound 
for statistics. Clara Bow is five feet, three and 
one-half inches tall and weighs 120 pounds. 
Bom July 29, 1905. Dorothy Mackaill was 
born March 4, 1904. She is one and one-half 
inches ta-ller than Clara and weighs 112 
pounds. Mae Murray is only five feet, three 
inches tall and weighs three pounds more than 
Dorothy Mackaill. She was born May 
ID, 1893. Mary Pickford is exactly 
five feet tall and weighs exactly one 
hundred pounds. Also born in 1893 — 
April 8, to be exact. Whew! 



True Blue Friends, Cawker City, Kan. — 
You are nice girls to sit down and write me such 
a cheerful letter. And especially because you 
had no questions to ask. I am not married, but 
I havehad tohide your letter frommy secretary. 
She is very much afraid that some one will 
come along and grab her job. Do you know 
that Claire Windsor was born and raised in 
your city? 

"Canoleen," High Point, N. C. — Sure, 
"Red" Grange is going to make more pictures. 
Say, do you think the girls would let him quit? 
For a photograph of Mr. Grange, write to Film 
Booking Offices, 1560 Broadway, New York. 

Rdtfus, Pine Bluff, N. C. — Call me any- 
thing you please, RufFus. Richard Barthelmess 
was born May 9, 1897. He has brown hair 
with eyes to match. Natacha Rambova is 
about thirty years old. She has chestnut hair 
and brown eyes. For a photograph of Rudolph 
Valentino, write to United Artists, 729 Seventh 
Ave., New York City. And to the same ad- 
dress for a picture of Vilma Banky, who is "too 
sweet for words.'* 

"Berky," a. A. — It's entirely your imagina- 
tion. I love the girls from Dixie — Mammy! — 
even if some of them do call me "ancient." 
Now that that's understood, we can be friends, 
can't we? Ramon Novarro is making "The 
Great Galeoto." Norma Shearer and Corinne 
Griffith both use their real names. 

Irene, Garden City, L. I. — That's a neat 
description of Jack Mulhall's smile — "not 
sheikish, not timorous, not intentionally allur- 
ing. But so friendly!" Yes, there are a lot of 
sLx-footers on the screen. Lefty Flynn is six 
feet, three inches; Fred Thomson, is six feet, 
two inches; Emil Jannings is over six feet tall. 
And Victor McLaglen. Monte Blue and Rod 
La Roque are all sLx feet, three inches. Thomas 
Meighan was born in 1879 and Harrison Ford, 
in 1892. Jack Mulhall's birthday is Oct. 7. 
He was born in 1891. Nice letters like yours 
never bore me. 



H. C. W., Montreal, Canada. — 
Fourteen years of fandom without los- 
ing your heart ! And now you fall for 
Richard Dix. Pretty lucky for Rich- 
ard. I don't know what the "X" in 
Bushmanstands for,but I imaginethat 
his middle name is Xavier. That's the 
usual combination. Thanks for the 
"Fount of Wisdom" line. 

P. S. D., PoTTSTowN, Pa. — Write to 
Olive Borden at the Fox Studios, 
Hollywood, Calif. Olive was born 
in 1907. Not married, as yet. She 
is The Girl on tfte Cover this month. 



IN writing to the stars for pictures. 
Photoplay advises you all to be 
careful to enclose twenty-five cents. 
This covers the cost of the photo- 
graph and postage. The stars are 
all glad to mail you their pictures, 
but the cost of it is prohibitive un- 
less your quarters are remitted. 
The younger stars can not afford to 
keep up with these requests unless 
you help them. You do your share 
and they'll do theirs. 



E. H., Wichita Falls, Texas. — Charles 
Rogers was born at Olathe, Kansas, in 1905. 
He is six feet tall and has black hair and brown 
eyes. Charles Farrell was born in 1902. Ad- 
dress him at the Lasky Studios, Hollywood, 
Cahf. You like the newcomers, don't you? 

F. H., HoBOKEN, N. J. — Julanne Johnston 
is about twenty-two years old. And she is five 
feet, six inches tall. That's pretty big for a 
screen heroine. The camera makes 'em look 
taller than they really are. George O'Brien 
is five feet, eleven inches tall and weighs 176 
pounds. He has brown eyes and brown hair. 
His newest picture is "Gaby," the story- of the 
French siren who was credited with costing a 
king his throne. Write to United Artists, 729 
Seventh Ave., New York, for a picture of 
Rudolph Valentino. 

Mary Lou, Los Angeles, Calif. — This is 
"as quick as I can." You are right and your 
friend is wrong. It was Ben Lyon, not Lloyd 
Hughes, who played with Colleen Moore in 
"So Big." Milton Sills was divorced once be- 
fore he married the charming Doris Kenyon. 
Eugene O'Brien and George O'Brien are not 
brothers; they are not even related. 

Two Girls from Maville, Iowa. — Address 
Louise Brooks at the Paramount Studios, 
Astoria, L. I. Do I think she is pretty? Oh, 
boy! 

H. S., Glidden, Iowa. — Ronald Colman is 
five feet, eleven inches tall. Bom Feb. 9, 1891. 
Separated from his wife. Surely just an inch 
shorter than six feet is tall enough for an ideal 
hero. By the way, there seems to be a regular 
craze lately for tall men. How come? 

M. K. S., Detroit, Mich. — Get ready! 
Here is "all about Jack Holt." Gather around, 
Holt fans, and listen: Jack was bom in Win- 
chester, Va., May 13, 1888. He played on the 
stage and started in pictures a number of years 
ago. He is married and has two daughters 
and a son. 

M.C.N., San Diego, C.\lif. — Curi- 
osity needs no apology. Joseph Schild- 
kraut was born in Vienna, Oct. 9, 1896. 
He's married to Elise Bartlett; at 
least, he was married a few weeks ago. 
The Schildkrauts are separated and 
reunited so often that I can't keep up 
with them. They have no children. 
Address Mr. Schildkraut at the Cecil 
B. De Mille Studios, Culver City, 
CaUf. 



Elsie H., Utica, N. Y. — Marie Pre- 
vost is a Canuck. Born in Sarnia, 
Canada. But an American by mar- 
riage. She is the wife of Kenneth Har- 
lan. George K. Arthur did not play in 
"Beverly of Graustark." Harrison 
Ford has no children. 

[ continued on page iio ] 

SI 




Kno\vn as 

Lew 



Gentleman 



By 

Dorothy 

Spensley 





Lew Cody is a national institu- 
tion — with a sense of humor. 
Novelists mention him in their 
stories, cartoonists name him 
in their comic strips. Lew says 
his best friends are Od Mcln- 
tyre, Billy de Beck, Don Stewart 
and ""Bugs'" Baer 



I 



KNOW a girl with the bluest eyes, the 
goldenest hair, the slimmest ankles, the slen- 
derest limbs, the smallest waist, the roundest 
neck, the firmest chin, the reddest lips, and 
the longest lashes. 

She is exquisite, that golden girl. She knows it. 

I know it. Everyone who knows her knows it. 

But not everyone knows the longing that drives 

her to the Montmartre Cafe on Wednesday and 

Saturday noons. That drives her to vacuous parties and vapid dinners. 

But I do, for she told me. 

Some day she hopes some place to meet someone who will introduce her to Lew 
Cody. 

.\nd now you know what kind of a man we deal with. A man who drives beautiful 
blonde women to search for him at parties. .\ man who drives frail femininity to 
kincheon-dansants. A man's man and a woman's idol. That is the gentleman 
known as Lew. 

But Lew needs no more. introduction than Mr. Addison Sims, of Seattle; or Ivory 
.Soap, which is 99 94/100 per cent pure; or the 'round the world flyers, or anything 
that is nationally known. 

Lew is an institution. Not a fi.xture. he is too active for that. Fixtures are apt 
to be regarded as fastened to one spot. .\nd this could 
never be said of Lew, for if he isn't dropping in to say 
"cheerio!" at Bebe Daniels' he is popping in for a moment 
to sec his comrade-in-arms, Norman Kerry. '. 

Yes, Lew is an institution. Say "Lew Cody" in any 
hamlet in the country and the native thinks of motion 
pictures, Hollywood, he-vamps and humorous comedians. 
Novelists mention him casually in their stories, cartoonists 
name him in their strips. And if that isn't the perfect 
tribute to fame, what is? 

Which brings us to Lew, loUing lazily on the paunch-like 
velour seat of the overstuffed chair: 

" I like writers. Most of my | co.vtixued o.n p.4ge i 24 1 



Lew and Mabel Normand 
are married. "We in- 
tended to take ourselves 
quite seriously, Mabel 
and I," explains Lew. 
''Then a friend told 
Mabel that she had cer- 
tainly married a big 
laugh, so we couldn't be 
serious. After all, we're 
both comedians. Why 
not laugh?" 



H 



a 



J^ational Institution 



Photoplay Magazine — Advertising Section 



83 




Champions 
of Health 

They conquered stubborn ills, 
won their way back to 
. glorious health and vigor^ 
hy eating one simple food 

NOT a " cure-all," not a medicine— Fleisch- 
mann's Yeast is simply a remarkable 
fresh food. The millions of tiny active yeast 
plants in every cake invigorate the whole 
system. They aid digestion — clear the skin- 
banish the poisons of constipation. Where 
cathartics give only temporary relief, yeast 
strengthens the intestinal muscles and makes 
them healthy and active, daily releasing new 
stores of energy. 

Eat two or three cakes regularly every day, 
one before each meal: on crackers, in fruit 
juices, water or milk — or just plain, in small 
pieces. For constipation dissolve one cake in 
hot water {not scalding) before meats and at 
bedtime. Dangerous habit-forming cathartics 
will gradually become unnecessary. All grocers 
have Fleischmann's Yeast. Buy several cakes 
at a time — they will keep fresh in a cool dry 
place for two or three days. 

And let us send you a free copy of our latest 
booklet on Yeast for Health. Health Research 
Dept. 25, The Fleischmann Company, 701 
Washington Street, New York. 



"I HAD BEEN TROU- 
BLED WITH BOILS for 

some time. After numerous 
remedies had failed to re- 
lieve me I was advised to try 
Fleischmann's Yeast. This I 
did, and at the end of two 
months I was completely rid 
of my affliction." 
^L^BEL C. Mackenzie, 
St. Peters, Nova Scotia: 





THIS FAMOUS FOOD 
tones up the entire system — 
aids digestion — clears the 
skin — banishes constipation. 



"I BECAME BADLY RUN DOWN. Balkt dancing 
made too great demands on my energy. Tonics gave 
little help. Finally I tried Fleischmann's Yeast. My 
energy is now completely restored. I feel entirely well." 
Harriette G. Bendle, New York City. 



"FOR MANY YEARS I SUFFERED FROM 
CONSTIPATION caused by the irregular habits 
of a life spent in travel, prospecting, trading, 
fighting in three wars. At last a friend advised me 
to try Fleischmann's Yeast. I did so, and found 
that it kept me in the very pink of condition. My 
constipation has absolutely vanished." 

Thomas Stapleton. San Francisco, Calif. 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



Of All 

the y^~^ 

If you don't be- 
lieve in miracles, 
read on 

By Myrtle West 



IN "The Truth About Breaking Into 
the Movies," Ruth Waterbury tells 
you about the thousands of beautiful 
girls desperately and almost hope- 
lessly trying for any kind of chance to get 
into the studios. At great expense, 
sometimes at terrible sacrifice, these 
beauties of Hollywood have travelled 
thousands of miles from their homes just 
for a "flyer" in fame. 

This is the story of a high school girl 
of Knoxville, Tenn., who walked into a 
drug store of her home town for a soda 
and was beseeched and begged to play 
the leading part in a special production. 





Helen Mundy walked into a drug store in 

Knoxville, Tenn., for an ice-cream soda. 

She walked out with the leading role in a 

picture. A black cat for luck ! 



Fame, like lightning, strikes in unexpected 
places. There is no analyzing its justice or injustice. 

On the one hand, you have the lovely "extra" 
girl, willing, ambitious, pathetically eager and 
fatally beautiful. A few days' work in the studios 
is her dream of Heaven. 

On the other hand, you have the not-so- 
beautiful Helen Mundy, cool, independent and 
not impressed with this idea of glory. Helen has 
a five-year contract with Famous Players-Lasky; 
but she can't see where anyone has done her any 
great favor. 

Helen, as I have said, w'cnt into a drug sjore 
for a chocolate soda and walked out with a sugar- 
covered future. I CONTINUED ON P.^GE II3 1 



Miss Mundy's work in "Stark Love" won 
her a five-year contract with Paramount. 
This is the film made in the Carolina 
iTiountains. Yes, Miss Mundy is wearing a 
blonde wig, but no make-up 



Photoplay Magazine — Ad\-ertising Section 



WATCH YOUR THROAT! 




Don't let it become serious! 



AS YOU probably know, certain 
XX harmful bacteria are constantly 
present in the mouth and throat. And 
unless proper precautions are em- 
ployed these disease germs may often 
get the upper hand and multiply more 
rapidly than nature can fight them off. 

At such times yoiu" throat becomes 
irritated — Nature's way of tell- 
ing you there is danger ahead. 

Particularly at this time of 
year everyone should watch 



LIST 



the throat very carefully. The ideal 
mouth and throat protection is the 
systematic use of Listerine, the safe 
antiseptic. 

Its regular use by the entire 
family, as a mouth wash and gargle, 
is an easy way to be on the safe side. 

Also, then you will be on the polite 
side in regard to that insidi- 
ous condition, halitosis (un- 
pleasant breath). — Lam- 
bert Pharmacal Company, 
St. Louis, U. S. A. 




INE 



the safe antiseptic 



When you write to advertisers please meution rHOTOPLAT MAGAZINE. 



Friendly 
Advice 



on 




DKAR CarohTi Van Wyck, 
This is a disjointed story 
about a boy, of course, but 
please give me your help. I met him 
at a girl friend's party. Tall, blond, 
he looked like one of those fashion ad- 
vertisements "sketched from life at 
Fashion Park." 

I am always rushed everj'where I 
go. Boys want a "knockdown." 
Girls are terribly jealous of me. I was 
voted the most beautiful girl at our 
school. But none of this matters now, 
because I'm miserable. Here's wh}-. 

He rushed me that night, told me he loved 
me, asked me to elope then and there. I 
refused. Sometimes I'm sorr>^ I did. He took 
me home and promised to call the next day. 
Then my girl friend told me he was engaged to 
another girl. 

Xext day when he telephoned for a date. I 
refused. I was afraid to see him. 1 cared too 
much to be a passing fancy while he was en- 
gaged to another. I went awa^^ From friends 
i heard Phil talked only of me, asking continu- 
ously when I was coming home. The first 
night I returned I ran into him. I did not 
speak, but I knew I lo\ed him. He told me he 
loved me, but remembering that other girl, I 
refused to go out with him. Next day I learned 
he had broken his engagement the night he iirst 
met me. 

Tell me what to do. Shall I invite him to see 
me, and if he comes, let him see how glad, how 
deeply glad I am to see him? \Vhat can I do to 
win him back? D. C. 



Silence is not golden in lovers' quarrels. 
Silence is more harmful than otherwise. Pleas- 
ure and happiness are always expressive, It is 
in silence that hurts, hates and animosities 
develop. 

Learn to speak out, D. C. Learn to articu- 
late your hidden thought, your unexpressed 
fear. This is a most important thing for every 
girl to learn, I believe. The days for "lady- 
like" silences have passed. Life is too swift 
now. One must make one's self heard today or 
life rushes by, leaving one stranded. 

In your case. D. C. you judged j-our hand- 
some young man by gossip standards and found 
him wanting. You did not speak out. You 
gave him no opportunity to defend, or explain 
himself. Ver>' hurt, you ran away and in run- 
ning away probably hurt him, too. I realize 
you were trying to act wisely, trying to keep 
from breaking your own and some other girl's 




Iroblems 



heart. Yet, I think you owed it to that bo^' to 
ask him about the situation before you doubted 
him on hearsay. 

Never put off until tomorrow the quarrels 
that can be fought today. I favor more and 
better quarrels between lovers. I do not mean 
bickerings or petty naggings. Those are one- 
sided meannesses, meaning nothing and ac- 
complishing nothing but mutual disrespect. 
Be above those. But real quarrels, common 
statements of grievances that start in anger 
and attempt to go through to mutual under- 
standing, those I champion. A quarrel, after 



QUARRELS 

Are This Month's Problem 

"VT THEN misunderstanding 
VV arises, do you retire into a 
hurt silence, or do you give the 
other fellow a chance to explain? 
This month I'm giving you my 
reasons for believing it is better to 
quarrel than to remain angry and 
silent. 

The crudest days of the year 
are here, as far as beauty is con- 
cerned. If you will send me your 
name and address, I will forward 
to you my helpful pamphlet on 
care of the skin. For ten cents, 
you may secure my little booklet 
on sane reducing. 

Carolyn Van Wyck 



from 



Carolyn Van Wyck 



all. is nothing more than an articulate bursting 
forth from the bonds of false politeness, false 
hurts and false standards that have tempo- 
rarily destroyed your real feeling toward the 
person you love. 

Such a quarrel can clear the air miraculously. 
But its benefit is secured only if you fight it 
out, not to the bitter end, but to the true end. 
Don't quarrel half way through and then 
retire into a new silence. That is simply breed- 
ing a new resentment. Don't judge until you 
know all the facts, all the foolish little emotions 
loncerned. Give and take in the argument, and 
if at the end you find you were wrong in your 
judgment, be a big enough person to admit it. 
Tr>' to see both sides of the argument. Try to 
be kind and fair. Employ your sense of 
humor, but above all. speak. 

Go to 3'our boy friend, D. C. E.xplain the 
whole thing as you have to me. Tell him why 
\'ou went away, why you doubted him, even 
how you feel about him. Tell him your story 
and let him tell you his. That is my answer 
to you. 

Emm.\ G., IiVdl^na: 

I would reduce if I were you, ten pounds at 
least. If you are dark, why not drop blue in 
favor of all the attractive tans and yellows and 
browns there are? Certain shades of green, 
too, ought to become you. I would reject the 
external skin bleaches in favor of the internal 
ones of drinking lots of water, eating green 
vegetables and making my skin glow naturally. 
Don't worr>- al^out the boys. If they prefer to 
dance with you, you're safe. It's a ver>- sure 
way to popularity. 

Gertrude C, Pknt^^sylvanta: 

I regret that I do not know the school to 
\\ hich \'0u refer. It sounds lo me like an excel- 
lent course for a woman of your type. howe\er. 
I always favor independence if one is wise 
enough to be able to maintain self-discipline. 
And you sound as though you were. 

E. D. D.: 

I cannot understand with the styles what 
they are, why any girl should want to develop 
the calves of her legs. All the smart young 
girls I know about in New York are worrv'ing 
themselves a great deal over tr^nng to reduce 
their legs. The girl with the thin legs is always 
the smartest. Yours seem in very good propor- 
tion to your other measurements and that is 
something to be proud of. 

[ CONTINUED ON PAGE 12J ] 



86 



Photoplay Magazine — Advertising Section 

The Filmy Gowns That 
Women Used to Fear 



87 



Wear them now in security, under the most trying of hygienic handicaps 




Easy 
Disposal 

and 2 other 
important factors 



Eight in every ten women have adopted this "NEW way which solves 
woman'smostimponanthygienicpToblem so amazingly , . . by ending the 
uncertainc^ of old ways . . . and adding the convenience of disposahility. 



® 



easy to dispose 
of as a piece 
of tissue — thus 
ending the try- 
ing problem, of 
disposal. 



By ELLEN J. BUCKLAND, Re^stered Nurse 

If you have not tried Kotex, please do. It 
will make a great difference in your view- 
point, in your peace of mind and your health. 
Many ills, according to leading medical 
authorities, are traced to the use of unsafe 
and unsanitary makeshift methods. 

Thus today, on eminent medical advice, 
millions are turning to this new way. 

There is no bother, no expense, of laundry. 
Simply discard Kotex as you would waste 
paper — without embarrassment. 



SOCIAL demands, no matter how ill- 
timed, hold terror no longer for the 
modern woman. Sheerest gowns are worn 
without a moment's thought or fear. One 
dances, motors, goes about for hours in 
confidence and security. 




© 



The uncertainty of the old-time "sanitary 
pad" has been supplanted with positive pro- 
tection. There is a new way — a way that 
once you try will keep you forever from 
risking again dangers of old ways. 



utter protection — Kotex 
absorbs 16 times Its own 
weight in moisture: 5 
times that of cotton, and 
It deodorizes, thus as- 
suring double protection. 



These new advantages 

This new way is Kote.x, the scientific sani- 
tary pad. Nurses in war-time France first 
discovered it. It is made of the super- 
absorbent Cellucotton wadding. It absorbs and 
holds instantly sixteen times its own weight 
in moisture. It is five times as absorbent as 
cotton. Kotex also 
deodorizes by a new 
disinfectant. And 
thus solves another 
trying problem. 

^Supplied also in fierfomll 

servKc cabineu in 

rat-Tooms by 



West Disinfecting Co. 




Only Kotex is "like" Kotex 

In purchasing, take care that you get the 
genuine Kotex. It is the only pad embody- 
ing the super-absorbent Cellucotton wad- 
ding. It is the only napkin made by this 
company. Only Kotex itself is "like" Kotex. 
You can obtain Kotex at better drug and 
department stores everywhere. Comes in 
sanitary sealed pack- 
ages of 12 in two 
sizes, the Regular and 
Kotex-Super. Kotex 
Company, 166 West 
JacksonBlvd, Chicago. 




(D 



Kotex Regular: 
65c per dozen 

When you write to advirtisers pli;ase mtuiioii mOTOPLAT MAGAZINE. 



Kotex-Super: 
90c pec dozen 



Easy to buy anywhere.* 
Many stores keep them 
ready- wrapped in plain 
paper — simply help your- 
self, pay the clerk, that 
Is all. 



No laundry — discard as 
easily as a piece of tissue 



He's in Conference 




The Marquis de 
la Falaise refuses 
to be only a 
husband. He 
hangs out his 
shingle and goes 
into business 



Introducing Henry — Gloria Swanson's husband -at 
his desk. He has a small suite of offices in a big build- 
ing on 42nd street 




He has a secretary, an office boy, and his name 

painted on the door. And even Gloria herself is 

not allowed to interfere with his businesslike 

routine of work 

Henry de la Falaise writes short 
stories and acts as literary agent for 
French authors. And, take it from 
Gloria, he is a stickler for regular 
office hours 



Photoplay Magazine — Advertising Section 



89 



UJIW can <jcLc3 




oaS 



?" 



WHAT woman does not look with 
envy at the lovely almond-shaped 
nails of her more soignee sister? 
Does not shrink back in mortification at 
her own dim, come-as-they-may, vari- 
shaped finger tips? — clean, but oh, so 
stupid! Sigh once more for that glisten- 
ing perfection, above all for those pearl- 
white rounded half moons and shapely, 
snowy tips? 

Perfectly shaped Half Moons make the 
nails appear longer and give them the 
desired almond shape. No wonder they 
are so much coveted by the woman who 
wr.nts to have beautiful nails. 

The Half Moon is a pale crescent- 
shaped area just above the nail. Its size 
and shape vary in every individual and 
in each finger. Occasionally this white 
area is so small 
that none of it 
shows above 
the nail rim. 
And some 
women ac- 
tually do not 



properly removed and the 
nail rims rightly .shaped. 

"The cuticle is really ^g^g^^^g^^^ 
skin that grows in a pro- 
tective rim around the nail 
base. It constantly throws off old tissue 
that covers up the Half Moons and causes 
the rims to draw so tight to the nail 
they split and crack. You can 
not cut it away without 
snipping into it, causing 
it to grow back stii 
more unevenly — and 
just softening and 
pushing back thecu 
tide breaks it and 
doesn't remove this 
old skin either. 



Do you know what 

the Half Moons really are ? 

And that some women 
never have them at all? 

Northam Warren, au- 
thority on the care of the 
nails.answers an important 
question on the manicure 




"So many women 

had trouble with this 

part of the manicure 

that I experimented 

until I found a way of 

removing the old tissue 

and softening the cuticle 

so it is easy to shape it into 

perfect ovals and allow 
the Half Moons to show. 
That way is with a liquid — the 
safe antiseptic Cutex Cuticle Re- 
mover." 




This is the dainty anti- 
septic which removes the 
detid cuticle that ojten 
spoils the shape of the 
lovely Half Moons 



This is the Cuticle Cream, 
to be rubbed into the nail 
base, after removing the dead 
cuticle ivith Cutex. It keeps 
the rim around the Half 
Moons soft and well shaped 



have Half Moons at all. 

"Usually," Northam Warren says, 
"when the Half Moons do not show, it 
is because the dead cuticle has not been 



WITH orange stick 
and cotton dip- 
ped in Cutex the 
cuticle is gently shaped 
until thedead cuticle which 
obscures the Half Moons 
is removed. 

Then rub in Cutex Cuti- 
cle Cream — all around the 
nail base. It helps train 
the rims back, and keeps 
the cuticle soft and pliant. 
But remember that just one 
treatment — if you have neglected 
to train the cuticle properly — 



won't get the Half Moons to show per- 
fectly. You will need to remove the old 
cuticle and shape the new regu- 
larly — once a week. Even if 
you discover that you do 
not happen to have Half 
Moons yourself, you 
n\\ be delighted with 
the lovely oval shape 
of your nails. 



Marthe Regnier, 

talented and unusu- 
ally gifted French 
actress and a modiste 
cf artistic ability as 
li'elljSays:" Half Moons 
are the distinguishing 
mark of beauty in well 
kept nails. Since I dis- 
covered Cutex it's no trou- 
ble at all to shape cuticle, 
revealing the Half Moons." 

Cutex Sets, containing everything 
for the manicure are 35c to J5.00. Sepa- 
rate preparations are 35c. You will find 
them wherever toilet goods are sold. Or 
see the special offer. 



G>L 



JEND 10c for Introductory Set 
containing Ciite.x Cuticle Remover, 
Liquid andPou'derPolishes, Cuti- 
cle Cream, brush, emery board, 
orange stick, cotton and booklet. 



c---.- 

\ ■ 






Northam Warren, Dept. Q-I 

114 West 17th Street, New York City 

I enclose loc in stamps or coins for Introductory Set, 



When you write to aclTeiliscre please mention mOTOPLAY MAG.VZIXE. 





Just a 

Little 
Fella 

trying to get 

Along 

By Agnes Smith 



H 



^'There is nothing I won't do before the camera to 
attract attention," confesses Roy D'Arcy. "In 
playing a cIosc-up with John Gilbert, I pull my 
handkerchief out of my pocket and wave it at the 
camera" 



90 



YPNOTIC. That's the word. 
Hypnotic. 

Piercing blue eyes, a yellow over- 
coat, a cane, flashing white teeth 
and a luxurious pair of sideburns. 

No wonder, then, that a head-waiter in a 
New York hotel gave a sharp gasp when he 
clapped eyes on Roy D'.Arcy. This head- 
waiter sees plenty of actors, but it isn't 
every day that he sees an actor Uke Rov 
D'Arcy. 

A first glimpse of llr. D'Arcy is like a 
first view of the Aurora Borealis or the 
Grand Canyon. 

And yet I was supposed to sit in his pres- 
ence and calmly drink tea. Well, there is 
one thing about Mr. D'.\rcy: the stranger 
never has to wrack her brain to think up 
conversation. Nobody has to stand on the 
brink of the Falls and urge the Niagara 
River to take a tumble. 

"I suppose," began Mr. D'.\rcy, "that 
David Belasco is very sore at me." 

This, really, seemed too, too bad. 

"You see," continued Mr. D'.\rcy, "the 
other night I made a speech over the radio 
and I said what I really think about the 
condition of the New York stage. The 
stage has grown too sordid, too vile. And 
I also spoke my little piece about Mr. 
Belasco. Just think, the stage's greatest 
producer descends to dreadful stuff like 
'Lulu Belle.' Over the radio, I came right 
out and told him what I thought about it. 

"I expect to hear from him any day. I 
guess he's pretty mad about it. 

" But I had to speak out about the pres- 
ent dreadful state of the stage. I feel 
very strongly about it, I assure you." 

"Then." I answered, for after all, I had 

to say something, "you wiU never go back to the stage?" 

Foolish question, of course; they never do. 

"Dear, dear no I All the entertainment of the future, all the 

art of the future, is on the screen. That is to say, the screen is 

'way ahead of the stage. However, [ continued ox page iio 1 



Photoplay Magazine — Advertising Section 



Ql 



flQOOO 

-for 
Prize Story J />^^ Screen 
and to Feature in G)II^eHiimOr 

RULES FOR THE CONTEST 



TO the author of the story or novel best adapted 
for magazine and motion picture production, 
as determined by judges of this contest, a prize 
of $10,000 will be awarded. In the event that the 
judges shall decide that two or more stories or novels 
are of equal value, the award of $10,000 will be paid 
to each tying contestant. 

The award will be made jointly by College Humor 
and First National Pictures, Inc. These two organi- 
zations will acquire respectively, upon payment of 
this award, the first American serial rights and the 
world motion picture rights in and to such story or 
novel. In addition thereto, First National Pictures. 
Inc., shall have an option to acquire the second serial 
rights in the prize-winning novel or story, upon the 
payment to the author of the additional sum of 
$1,000. Ail other rights shall be reserved to the 
author. The successful contestant or contestants 
shall execute College Humor and First National Pic- 
tures, Inc., standard forms of contracts conveying 
unto College Humor and First National Pictures, 
Inc., the aforementioned rights. 

The contestants further agree that unless they 
shall indicate their refusal at the time of submitting 
the manuscripts to College Humor, First National 
Pictures, Inc., shall have the right to purchase the 
world motion picture rights in and to any one or 
more of the manuscripts submitted (except only the 
prize-winning manuscript) for the sum of $1,000 
each. 

College Humor shall have the right to buy the 
first American serial rights in any of the manuscripts 
submitted (except only the prize-winning manu- 
script), for a consideration to be mutually agreeable 
to College Humor and the contestants. All other 
rights in such manuscripts purchased by College 
Humor shall remain with the contestants. 

The contest opens August 1st, 1926, and closes at 
midnight February 1st, 1^27. Any writer, whether 
amateur or professional, is eligible (foreign citizen- 
ship being no bar), with the exception of employees 
of College Humor or of First National Pictures, Inc.. 
and any writer may submit one or more novels or 
stories. 

All manuscripts must be original. No translations 
or collaborations will be considered. All manu- 



scripts must be typewritten, double-spaced, and on 
one side of the paper only. Any manuscripts which 
do not conform to the foregoing, or whose authors 
do not agree to the same, will not be considered. 

The contest is not limited to no\'els. but includes 
any stories not less than 5,000 or more than 1 10,000 
words in length. 

To guard against any possibility that the judges 
might be influenced by previous knowledge of any of 
the contestants, all manuscripts must be signed with 
a pen name, with the author's real name and address 
in an attached, sealed envelope, bearing the pen 
name of the author. These envelopes will be held 
unopened in our vaults until the judges have made 
their decision. Manuscripts submitted without re- 
gard to this rule will not be entered. 

Manuscripts will be examined as quickly as pos- 
sible, and those found unsuitable will be returned. 
Due care will be taken in the handling of all manu- 
scripts, but neither College Humor nor First Na- 
tional Pictures, Inc., will be responsible for their loss 
or damage in any manner or way whatsoever. 
Neither College Humor nor First National Pictures, 
Inc., shall be made a party to any libel action or suit 
for damages that might grow out of the contest in 
any connection. 

Three competent judges, whose names will be 
announced later, will make the final decision, from 
which there can be no appeal. No correspondence 
can be entered into concerning rejected manuscripts 
nor can changes or corrections be made in manu- 
scripts once they ha\e been submitted. 

First National Pictures, Inc., shall have the right 
to change or alter the title of the prize-winning story 
or no\cl in any manner whatsoexer. provided the 
title as so changed or altered shall not violate the 
rights of the author or authors of any other literary 
material. 

All manuscripts must be sent charges prepaid and 
accompanied with postage for their return, addressed 
to Contest Editor. College Humor, 1050 North 
La Salle St,, Chicago, III. 

In submitting manuscripts in this contest the con- 
testants thereby agree to all of the foregoing rules 
and conditions. 



©ligeHumOr 



In Connection 

With 




AT ALL NEWS-STANDS, THE FIRST OF EVERY MONTH 



When yoii write to advertisers please raeiilion PHOTOPLAY MAG.\ZIXE. 




Because, as Henry VIII, 

Emil Jannings created a 

great portrait 



Because, as Louis le Bien Aime, his first film 

appearance in this country, he established a 

new standard of acting 



Because his performance 

of Pharaoh was a truly 

titanic achievement 



(^(jOhy He's the Greatest 

Actor 




Because, in "The Last 

Laugh," Mr. Jannings gave 

to the screen an unforget- 

able picture of pathos 




Because, at seventeen, he was 
a hard-working stock com- 
pany actor 



Because he made a great 
continental success in 
"Tartuffe." Jannings 
never has played in an 
inferior or mediocre film 



Because he is not afraid to attempt the classics, as witness his perform- 
ance of Mephisto in the production of "Faust," soon to be released 



And because "Variety," thanks 
to his remarkable acting, has 
been one of the hits of the sea- 
son 



Photoplay Magazine — Advertising Section 



93 



Perfect Behavior in 
Hollywood 



[ CONTINUED FROM PAGE 67 ] 

or thirteen months which it will take him to do 
this, there are many other details connected 
with the preparation of the picture and first 
in the order of these we shall take up the sub- 
ject of selecting the cast. 

The choice of actors and actresses, fortu- 
nately enough, does not depend upon the story 
which is going to be screened or upon the 
characters who go to make up that story, but 
it docs depend a great deal upon what particu- 
lar actors and actresses are under contract to 
be paid a weekly sa!ar>' by the company which 
is planning la "shoot." As was explained in 
a previous article, if a young girl with long 
curls, a fat comedian and a couple of trained 
seals are on the pay roll and not working, the 
task of selecting a proper cast for any story 
is immensely simplified, and the only work in- 
volved falls upon the scenario w^riter who is 
requested to make the proper changes in the 
story. 

IF. however, the company does not happen to 
have any artists on the idle list, then there 
begins a series of "Discussions" as to what par- 
ticular actor or actress would be best available 
for the part. 

These "Discussions" generally take place 
in a very friendly and congenial atmosphere. 
Let us suppose that the particular part under 
"discussion" is that of "Gene" Tunney in a 
picture called "The Tunney-Dempsey Fight." 
The discussion would then be opened as 
follows : 

Mr. A — How about Gloria Swanson? 

Mr. B — I don't think we could get her. 

Mr. A — She's a wonderful little actress. 

Mr. B — No, I don't think we could get her. 
Besides, this role of (consults a continuity) 
what's-his-name — Tunney. 

Mr. C — It's pronounced Tunney — to rhyme 
with money. 

Mr. B— .{Correcting pronunciation) Tunney 
— Gene Tunney — it strikes me that it is not 
exactly in Swanson's line. 

Mr. A — She's a wonderful little actress. 

Mr. B — I know that. Bill. I'm not saying 
she isn't, am I? But I'm just saying that I 
think this role isn't suited for her. It strikes 
me as being more a masculine role. 

Mr. C— That's right, Ed. 

Mr. .\ — How about John Gilbert? 

Mr. D^Can't get him. We tried on our 
last seventeen pictures. 

Mr. B — How about what's-his-name that 
played in what's-that-picture I saw the other 
night? Vou remember, Bill. 

Mr. A— That was John Gilbert. 

Mr. B— Oh. 

There is several minutes'' silence. 
Mr. E — Say, fellows, I've got an idea. 
Mr. B— Shoot. 

Mr. E — How about getting Tunney — 
Mr. C — (Correcting pronunciation) Tunney. 
Mr. E — How about getting him himself to 
piay the part? 

Several more minutes of silence. 
Air. B — Well, we might see about it. 
Mr. C — I don't think we could get him. 
Mr. E — It wouldn't do any harm to tr>'. 

Five more minules of consideration. 

Mr. B — All right, Al. You tr^- and see what 
you can do, will you? 

Mr. E— .\11 right, chief. 

Mr. B — And then w^e'll all get together to- 
morrow and talk it over some more. 

Mr. C — How about Ronald Colman? 

Air. B — Well, we'll talk it over tomorrow. 



The first "Discussion" adjourns. 




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The Film on Teeth 

To which science now ascribes many common 
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Photoplay Magazine — Advertising Section 



"YOU WERE NEVER 
SO EXQUISITE!" 

(Letters from Lovers: IV) 

" ^ "^^ tt'(3S the rxiood. in the room 
Uc/ last night? Like starlight seen 
through a-istaria blossoms. Like Orient 
love songs plucked on the sweet strings 
of strange instruments. The room u.'as 
tremulous with the magic of it — and 
you were never so exquisite!" 

FROM HER DLARY 

"lam so happy — he was more ivonderful 
to me last night than he has ever been. 
I wonder — did the temple incense help?" 

J\fO matter how beauriful they were, 
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^hat mood tvill incense spread around 
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Beautiful Olive Borden, a new star rising in the West 



The Girl on the Cover 



Bv Cal York 



MOST girls sit around the casting offices 
of Hollywood for five or ten years wait- 
ing to be discovered. Olive Borden has 
been the most discovered girl in pictures. 
Somebody is always sighting Olive and making 
a great big discovery. The newest Olive dis- 
coverer is the public, and so big a public is it, 
that Olive is about to be starred. 

If Olive's story followed the pattern, the 
yam would stress, first . her unusual beauty, then 
her youth, then her personality, and finally her 
talent. The big sob would be how. with all that 
equipment, she had to starve to death for years 
waiting for the lucky break. But such a storj' 
doesn't fit the Borden baby. 

Olive, bom in Richmond. Virginia, entered, 
at a very early age, the Mount St. Agnes 
Academy in Baltimore. Maryland. When she 
graduated, she urged her mother to let her go to 
Hollywood. She wanted to be an actress, and 
nothing else. She talked the idea and dreamed 
the idea until even her mother caught the fever 
and they left for the West together. 

There was a revue being put on at the Screen 
Writers' Club a week or so after Olive arrived 
in Hollywood and that was her first chance. 



Sam Rork saw her in the Revue and gave her a 
small part in "Ponjola." Jack White, the 
comedian, saw her in "Ponjola" and made her 
leading woman for his company. Hal Roach 
saw those comedies and signed her for his 
organization. Paramount saw the Roach 
comedies and gave Olive one of the important 
rdles in "The Dressmaker from Paris." That's 
the way that girl had to struggle and starv-e 
for a 3-earI 

Two small companies sent for her to do leads 
in dramatic productions. Even camera men and 
electricians began discovering her, with the 
result that Olive screened better and better. 
Thus Fox heard of her and put her under a long 
time contract. 

It took hertwo pictures at Fox's tocomeinto 
her own — "Fig Leaves" and "The Three Bad 
Men." After that Fox gave her her own star- 
ring vehicle in "Yellow Fingers." 

Meanwhile, in both "TheThree Bad Men" 
and " Fig Leaves " Olive had George O'Brien for 
her leading man. George is verj' handsome and 
very charming. Olive isn't married. Neither 
is George. But Hollywood whispers that they 
soon will be — to each other. 



Erery advertisement In PHOTOPLAY MAGAZINE Is cuaranteed. 



Photoplay Magazine — Advertising Section 



Studio News and Gossip 



[ CONTINUED FROM PAGE 47 ] 

walked off the set tor five days and refused to 
go on with her work in " Diamond Handcuffs." 
This story was 6rst offered to Mae Murray and 
Mae turned it down. Hardly had production 
started when Greta registered her protest. 

The second incident concerns Raymond 
Hatton. Hatton was dissatisfied with his part 
in "Casey at the Bat." Officials removed him 
from the picture and replaced him with Ford 
Sterling, thus breaking up the starring team 
of Hatton and Beery. 

W.\LLACE BEERY, Hatton's former 
team-mate, is evidently in high favor 
because he has been awarded the role of P. T. 
Barnum in the special production. "The 
Greatest Show on Earth." iSIonta Bell will 
direct and the film will cost one million cart- 
wheels. 

IT was one of those "memorable 
occasions" and as Fred Niblo was 
in San Francisco trying out his latest 
picture, Rupert Hughes, quite natu- 
rally, was toastmaster. 

When it came time to introduce 
Betty Bronson, he presented: 

"The young lady who has run the 
gamut of virginity from 'Peter Pan' 
to the Virgin Mary." 

ADOLPHE MENJOU, a distinguished 
figure in perfectly tailored clothes and dark 
glasses, entered a Los .Angeles courtroom with 
his brother, " Hank," and came out a free man. 
The divorce is now complete and Mrs. Menjou 
is the possessor of a S25.000 cash payment; 
their Beverly Hills home, valued at $75,000; 
one automobile; and she will receive S650.00 a 
week until the sum of 867,000 is reached. 

The property settlement was arrived at the 
day before the suit went to court when Men- 
jou, with a generous gesture typical of the man, 
turned over to Mrs. Menjou the greater part 
of his properties. 

With the granting of the divorce Mrs. 
Menjou has the custody of Harold, her son by 
a former marriage. 

THE celebrated lady evangelist who is steal- 
ing the film stars' space in the Los Angeles 
papers is drawing an audience of actresses who 
are getting first-hand lessons in acting by 
watching the lady on the witness stand. 

.\mong some of the onlookers at the Aimee 
Sample McPherson trial, I understand, are 
Billie Dove, May i\Ic--\voy, Ruth Roland, 
Faith iVIcLean and Claire Windsor. They say 
a morning's observance of her courtroom emo- 
tions is inspiration for a week of rigorous cellu- 
loid acting. 

LOUISE FAZENDA and her Span- 
ish-Irish wit won her the ap- 
plause of the first-night crowd at the 
opening of a new theater in Los 
Angeles. 

It was shortly after Lew Cody's 
marriage to Mabel Normand and he 
was functioning as the debonair 
master of ceremonies. Louise 
stepped out on the stage in answer 
to her name, bowed, smiled and 
said: 

"I don't know just what to say — 
but I want to congratulate West 
Coast Theaters on its enterprise. . . 
and Mr. Cody on his !" 

MARY ASTOR and Irving Asher will not 
be married on Christmas Day because 
Mary has decided not to marry anybody right 




. , . all that one has a right to 
expect in travel at its best." 

NORMA SHEARER 

Thus this favorite of the motion 
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Photoplay Magazine — Ad\-ertising Section 



Silky, Lustrous 
Beauty 

for your hair 

— with Lemon Rinse 

IT isn't a hard effect to get. 
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Try it next time you shampoo. 
After you have ^vashed your hair 
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Note the lustrous, silky lights. 
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That*s because your hair is really 
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Purchase a dozen California lem- 
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Naine_ 



now. That's the end of the July engagement 
that didn't weather two months' location trip 
to Texas where Mar>' went to play in "The 
Rough Riders."' Somewhere, during those 
months, love was lost. But they are still good 
friends. 

Maybe Mar>' was superstitious and believed 
in that old adage, "Change the name and not 
the letter, change for worse and not for better." 
But I don't think it of Mar>-. 

T^OUG and Mar>- have purchased the Ran- 
-'-^cho Santa Fe. one of the last of the old 
Spanish land grants located between Del 
Mar and San Diego, and will erect an early 
California hacienda on the 1,000 acre estate. 

This the}- plan to make their home. With 
the exception of electricity and drainage, every- 
thing on the place will be as it was in the early 
da^s of the Dons. 

Friends who visit the Fairbanks in the new 
home, soon to be erected, will have to leave 
their cars in the specialh- pro\-ided gara,£;e and 
parking place outside the gates and make the 
trip to the distant hacienda either b}- horse- 
back or in old Spanish " carettas. " 

Doug plans to raise blooded horses and other 
stock on the place. It is sLxty miles from Los 
Angeles and they ^\-ill motor to and from the 
studio when time permits. If business is press- 
ing they will come by airplane. 

They ha\e also purchased a beautiful cove 
near Laguna where they are maintaining a 
tent camp. This will be their summer head- 
quarters. Guests \-isiting this camp each 
occupy a separate tent for sleeping quarters. 
The living room is a large tent, while another 
ser\-es as the dining room, and there is also a 
large and thoroughly equipped cook tent. 

'■Just like camping out." says Doug, "except 
we have almost aU the comforts of home, in- 
cluding a miniature three-hole golf course." 

T^O you know the difference between a "gag 
-'—^man" and a "comedy constructor"? 

Thought you didn't, for neither did I until 
I wrung the truth from Mer\-i.-n LeRoy, for- 
merly a gag man for Colleen Moore, who is 
now swaggering around under the new title. 

Seems a "comedy constructor" has two 
suits of clothes, instead of one, and an office 
with his name in gold letters on the door. 



'TpHE meanest man in the world, 
■*■ according to Estelle Taylor, is 
the Scotchman who had his liquor 
tested by a chemist before sipping. 
Finding one bottle labelled "Poison 
— one drink will cause blindness," 
he sent it to his aged grandfather 
who was already blind. 

•yHERE'S nothing like a good staunch Eng- 
■■- lish lord, six feet, six inches, to rely on when 
somebody names you as co-respondent, even 
if it later develops that the charges are grossly 
untrue. 

Beatrice Lillie, whose calling card reads 
" Lady Robert Peel, " felt that way when Lord 
Robert Peel came hustling to Hollywood to 
assist his Lady in straightening out the legal 
tangle which Jlrs. Tim Whelan, the wife of a 
scenario writer, caused. 

By the time Lord Peel arrived the suit had 
been dropped and Lord Peel was in time to 
accompany his wife to Xew York where she 
will rehearse a stage play. Her first motion 
picture, "Exit Smiling," is soon to be released. 

OHICO, California, is a nice little 
^^town of fifteen thousand prune- 
growing souls, who appreciate more 
the beatities of their fertile valley 
than the histrionic ability of the 
Barrymores. Therefore, when "The 
Sea Beast" came to town, the theater 
manager billed "Moby Dick," the 
giant whale, over John. 

Barrymore heard of it and the dis- 
tinguished wit flashed. 

"I realize the whale is better 
known than I am and have profited 
by the knowledge. In my new pic- 
ture, 'TheBelovedRogue,' lamplay- 
ing with a huge pig, a cow and a lot of 
chickens. Everybody knows what a 
chicken looks like." 



"TTHREE months ago Dorothy Dunbar told 
-■- me she was to be married. 
"But I cannot tell you who he is." 




The most interested visitors at the studios are the parents of the 
stars. It is a big day for mother when she watches her successful 
daughter play a great scene. Billie Dove's mother, Mrs. Bonney, 
recently visited her daughter at the First National studios on the 
Coast 

Every advert isement In PHOTOPLAY MAGAZTXE is guaranteed. 



Photoplay Magazine — Advertising Section 



Tuo months ago I met Dorothy on the 
F.B.O. lot where she acts for a living, and she 
told me the engagement, not the marriage, 
had been postponed. Which was a new one 
on me. 

The other day she dashed over to Riverside 
and was married to Thomas Buckley Wells, 
Minneapolis youth, also in pictures. 

As an actress Dorothy changed her mind as 
well as her roles. 

I LIKE to visit the George Fitzmaurice set. 
There is Vilma Banky whose beauty is sooth- 
ing to the eye and Ronald Colman whose voice 
is soothing to the ear and Fitzmaurice himself, 
far too interesting a personality to be an unseen 
director, even if he does turn out excellent 
pictures like "The Dark Angel" and "The 
Son of the Sheik."' The trio is now at work 
making "A Night of Love" for Sam GoldwA-n. 

With Colman"s quiet reser\-e and Vilma's 
quaint foreign manner, it is up to Fitzmaurice. 
the Celt with the Gallic tang, to supply the off- 
stage action. And he does, beautifully. 

One moment he is behind the camera, peer- 
ing through the finder at the scene. "Remove 
that silver plaque and shove the basket of 
fruit into the foreground." he orders. A huge 
wax taper lands on the head of an overzealous 
employee. Ever>-body grins, including Fitz. 

He shunts a French phrase toward Vilma, 
whose mouth forms a soft "o" in appreciation. 
Fitz is an Irishman educated in Paris. The 
next moment he is in his canvas director's 
chair glancing at the script — "Perhaps if I 
read this I shall be able to make another 
scene." Sly wit. He looks at his cameraman — 
"What is the delay? Remember this is cost- 
ing Mr. Goldnyn thousands of dollars." 
Silence, then four finger tips tapping four finger 
tips. "Now I want a beautiful, gorgeous, ex- 
quisite, luscious close-up of \'ilma." 

What a pity the three — Banky, Colman, 
Fitzmaurice — are to be separated after the 
completion of this picture. Fitzmaurice is to 
make First National pictures from now on. 

TOE SCHEXCK thought weU enough of 
''Harrj'- Brand's seven years' sen-ice as pub- 
licity director for Norma and Constance Tal- 
madge and Buster Keaton to make him busi- 
ness manager of the Buster Keaton Company. 
Which proves that Horatio Alger was not far 
wrong in his "local boy makes good" yams. 

In addition to being a good executive, Harry 
is the lad who steals the speech making honors 
from guests at Wampas dinners. The Wam- 
pas is an organization of motion picture pub- 
licity men whom Brand ruled as president last 
year. 

T 1ST to Bill Haines' plaintive 
peep, but don*t take it seriously. 
Bill is the kidding kid who could 
make "Buster" Keaton burst out 
laughing in the middle of a scene. 
That's how good he is. 

Said Bill, striking an attitude of 
intense earnestness: 

"I wish you would find out from my 
public whether they think I am too 
young and too beautiful to take up 
toe-dancing." 

A LMA RUBENS was reluctant to cut short 
'**-her vacation in New York to return to work 
at the Fox studios in Hollywood. You see, 
Ricardo Cortez is still busy at the Paramount 
studios in Long Island and Alma doesn't like 
these separaUons from her husband. The Fox 
oflBcials had to do some hea\'y pleading to get 
Alma to leave, especially since Alma has 
openly announced that she is tired of playing 
suffering waves on the screen and more suffer- 
ing mothers. 

Finally a Fox official hit upon an idea. 
"Come back," he wired Ahna, "and there will 
be no more mother roles." 

So Alma left. 



97 







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98 



'eAt every seat 
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L U D E N ' 



Photoplay Magazine — Advertising Section 



says 
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RICARDO CORTEZ, by the way, is doing 
very well for himself. He emerged with 
the chief honors of "Sorrows of Satan" and 
now everyone is hankering for his services. 
Paramount has no intention of letting him 
get away. 

It is more than likely that Cortez will be one 
of that company's most prominent stars before 
very long. 

He's a nice, serious boy and the improve- 
ment in his work, since he first flashed on the 
screen as a mere handsome fellow, is nothing 
short of marvellous. 

T INTON WELLS was guest at a 
J— 'dinner recently. He is the am- 
bitious newspaperman whose claim 
to fame rests in the fact that he re- 
cently circled the world in twenty- 
eight days. 

"Who was chasing him?" asked 
Lew Cody, also a guest. 

HTHE youngsters of the Paramount School 
-*■ are now out on their own. Their contracts 
with Famous Players-Lasky have expired and 
only a few of the young hope f uls , were given 
further guarantees of permanence, Mona 
Palma and Josephine Dunn are two of the 
lucky ones who have been assigned future 
roles. Both girls will be seen in "Love's 
Greatest Mistake," which Eddie Sutherland is 
directing. 

Of the boys, "Buddy" Rogers seems the 
most likely to win a soUd place for himself in 
the picture world. 



THE Paramount School idea has not been 
exactly abandoned. But there will be no 
more formal classes and no more graduating 
exercises. But Paramount is still sticking to 
its idea of training young players. The scouts 
are on the look-out for promising young peo- 
ple and these players are placed under con- 
tract and then assigned to minor r61es for 
training. The players thus engaged are con- 
sidered pupils of the company and the officials 
believe that the new system ought to bring 
really practical results. 



TTITALTER McGRAH. teUs this on 
• • a generous fellow, down to his 
last dollar, who was approached by a 
maiden of uncertain summers in 
quest of a contribution to a charity 
drive. As she pocketed the bill she 
lisped: 

"Thank you, sir. This money is 
going straight to the Lord." 

"Wait a minute, lady. How old 
are you?" 

"Nineteen." 

"And I'm thirty-five. Give that 



dollar back to me. 
first." 



I'll see the Lord 



T OIS WEBER'S come-back as a director was 
•'-'so eminently successful that now, it is said, 
Miss Weber will join United Artists. The 
"only woman director" filmed "The Marriage 
Clause" for Universal and it scored a real hit. 




"I don't care much for handsome men/' says Marion Nixon. 
"Give me a nice, quiet man with a heart of gold." And Marion 
thinks that her new boy friend has a great future on the screen. 
He's another Charlie Ray 



Miiiiniiriiiiiir 

Every advertisement in PHOTOPLAY MAGAZINE Is cuaranteed. 



Photoplay Magazine — Advertising Section 



IRENE RICH made a personal appearance 
with the first showmR of "My Official Wife" 
in Los Angeles. I have seen picture stars at 
other openings. I have seen some of them 
giggle and gurgle and blow kisses. There was 
none of this in Irene's charming, dignified, 
poised appearance- She made a simple speech 
which was amazingly well done. She spoke 
clearly and said things. Not just guff. 

The theater darkened and, returning to her 
seat, Irene was left to the mercy of her fans. 
A large woman stumbled past Irene, trampled 
on her feet, bruised her flowers, and sank into 
a seat. 

"Whew! That was work — gettin' to my 
seat," the stout lady panted to her escort. 
"Well, now I hope we get a chance to see 
Irene Rich." 

" That was she you stepped all over." 

"R-e-a-Uy! My Gud!" And then there 
was much neck-craning in Irene's direction, 
who was really worth seeing in her pale green 
and silver coat over a soft white chiffon dress. 

A DOLPHE MENJOU doesn't know whether 
■*»-to desert the safety razor and trust to the 
barber or not. While shaving one morning he 
cut a deep gash in his cheek. It had to be 
patched up, and this held up work temporarily 
on "Blondes and Brunettes." 

TT'S a verb now— to UFA. Any- 
■^thing blurred or fuzzy now "looks 
as though it had been UFA-ed." 
It's a tribute, of course, to German 
trick photography. 

"Goodness," said one young thing 
to another at a film opening, "there 
is Helen. She looks as though she 
had had her face UFA-ed." 

•yOM FORjMAN, well-known director and 
■^ actor, was one of the first members to en- 
list in the army in igiy. Mr. Forman enlisted 
as a private and was discharged as a lieutenant. 
He saw hard service at the front and was 
injured. Forman went back into pictures and 
made se\-eral successful pictures, but he never 
completely recovered from his war wounds. 

Recently Forman was taken ill again, on 
the eve of starting a new picture. Realizing 
that his condition was hopeless, he shot and 
killed himself at the home of his parents in 
Venice, California. 

r^ICK BARTHELMESS" handsome press 
■'-^agent is trying to tie the title of "first 
gentleman of the screen" onto Richard, the 
Big-Hearted, this being the season for slogans. 

Speaking of slogans, as we are. this seems to 
be an open season for them. There's Harry 
Langdon, "the moon-faced mimic," and 
Vilma Banky, "the Hungarian rhapsody," 
to say nothing of Florence Vidor, "the orchid 
lady of the screen"; Lon Chaney, "the man 
of a thousand faces"; Jetta Goudal, "the 
cocktail of human emotion." Even that kid 
actor, Buck Black, is labelled "the eight year 
old Thespian" by his energetic press agent. 

It's time for someone at Bennett's to yodel 
"Ben Turpin, 'the lad with the scrambled 
vision.'" 

CONVERSATION overheard be- 
^^tween two beautiful but toneless 
picture stars at the Grauman premiere 
of the Vitaphone. 

"Well, dearie, we don't have to 
worry about those prima donnas 
cramping our style. They'll have to 
get Benda masks before they can 
even compete with us for looks." 

A T the close of a scene in C. B. De Mille's 
1 \."'j'jig King of Kings" in which is shown 
the institution of the Lord's Prayer, the music 
welled forth with "The Doxology." One of 
the extras, a basso, took up the refrain and in 

[ CONTINUED ON PAGE lOI ] 




A Sad though Moral Affair— Egbert J. Kelp, citizen-commuter and 
paterfamilias, snitched his wife's bottle of Hinds Cream to soothe 
his skin after shaving. He said in hospital he never expected she 
would find out so quick. The two were reconciled at his bedside, 
when Mme. Kelp brought him a bottle of Hinds for his very own. 
He found it right nice to rub on the egg on his head. 

JL lie cream crime >vaveZ 

It's happening every day in the best regulated families — 
husbands, fathers, sons, discovering that Hinds Cream 
will soothe shave-worn skins, carelessly borrow from 
the fair sex and borrow trouble! 

What this country needs is more comfortable shaves — 
after shaving. 

And every man who longs for that thrill will fill out 
the coupon below for a free ten-shave sample of Hinds 
— and an admirable non-theft device will be sent with 
it to keep his Hinds beside his soap and razor! 

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A -^^ord to the '♦valves : ^IJT IT 'T^^T ■ ^ ^^^ 

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Do this for your husband — buy him 
a bottle of Hinds Cream for his own. 
Tell him to put a little Hinds on 
both hands, then rub his moist hands 
over his face, until his fingers be- 
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CREAM 



Reg. U. S. Pat. Off. 




Wlien you Hrlto to advertisers please nicnlion PIIOTOPLAT MAGAZINE. 



What the Stars and Directors Are Doing 7s[0W 



WEST COAST 

iUnie$8 othertcUe specified studios are at HoUyirood) 
ASSOCIATED STUDIOS. 3800 Mission Road. 

Arch Healh dlrwilng "On Guard."a Pathe serial, 
with Cullen Landls. 

Production will soon start on "Horse Shoes" with 
Monty Bonks. 

CH.\DWICK PICTCREP. 1440 Gower Street. 

J. Xebon dlrectlne ■'Sunshine of Paradise Alley" 
with Barbara Bedford. Nigel Barrie and Lucille L. 
Stewan. 

CHARLES CHAPLIN" STUDIOS. 1416LaBrea Ave. 
Inactive. 



Monte Brlce has completed "Casey at the Bat" 
with Wallace Beery, Ford Sterling and ZaSu Pitts. 

Production will soon start on "Love Letters" with 
Eddie Cantor. 

Production will soon start on "Rich Man. Poor 
Man " with Mildred Da%'ls. 

Frank Lloyd directing -Children ol the Dust!" 
Cast not announced. 



MACK SEXXETT STI'DIOS. 1712 Glendale Blvd. 

Ben Turpln, Ruth Hlatt. Raymond McKee. Mary 
Ann Jackson. Madeline Hurlock, Billy Bexan. 
Thelma Hill. Vernon Dent. Danny O'Shea, Barney 
Helium. Jerry Zier and Alma Bennett — all working 
on two-reelers. 



MARSHALL XEILAX STUDIOS, 1845 Glendale 
Blvd. 



Albert Parker directing " Sunya" with Gloria 
Swanson and John Boles. (United Artists Prod.) 

WILLIAM FOX STUDIOS. 10th Avenue and 55Ih 
Street. X. Y. C. 



Grccorj- La Carx-a completing "Paradise for Two" 
with Richard Dlx and Betty Bronson. 

Eddie Sutherland dlrectlne "love's Greatest Mis- 
take " with Josephine Dunn. Evelyn Brent. James 
Hall and William Powell. 



DE MILLE STUDIOS. Culver City. Calif. 

Cecil B. De Mille dh^cTtnE "The King of Kings" 
with Jacqueline Loean, Dorothy Cummlne. Ru- 
dolph Schildkraut. Joseph Schlldkraut. Victor 
Varconi. H. B. Warner. Charles Ray. Theodore 
KoaloH. Bryant Washburn. .Sally Rand and Sojin. 



METRO-GOLDWYX-MAYER STUDIOS. Culver 
City. Calif. 



Production will soon start on "The Cross-Eyed 
Captain." Cast not announced. Mai St. Clulr 
directing. 



F. B. O. STUDIOS, 780 Gower .Street. 

David Kirkland directing "Uneasy Payments" 
with -Alberta Vaughn. 

J. Le<' Meehan directing "The Magic Garden" 
witn P'-iilipe de Lacey. Raymond Keane and Wil- 
liam V.Mong. 

Production will soon start on "Don Mike" with 
Fred Thomson and Ruth CUflord. 

Bob de Lacy directing "Lightning Lariat" with 
Tom Tyler. 



AM. Gouldlne completing "Jack O'Diamonds" 
with George O'Hara. 



ITRST XATIOXAL STUDIOS. Burbank. Calif. 

.\l Santetl directing "The Patent Leather Kid" 
with Richard Barthelmess and Dorothy Mackaill. 

Charles Hines directing "All Aboard" with Johnny 
Hlnes. 

James Flood directing "Purple and Fine Linen" 
with Corlnne GriCBth. John Bowers and Hobart 
Bosworth. 

King Baeeott directing "The River" with Doris 
Kenyon aiJd Lewis Stone. 

Choree Fitzmaurlce directing "Body and Soul" 
with BilUe Dove. 

(leorge Archainbaud directing "Easy Pickings" 
with .\nna Q- Xilsson and Kenneth Harlan. 

Millard Webb directing "Those in Love." Webb 
replacing Balboni. 

Harrj- Langdon completing "Long Pants" with 
Betty Baker. 



WILLL\M FOX STUDIOS. 1401 X. Western .\ve. 

John CrilBth Wray directing "Love O' Women" 
with Blanche Sweet. 



Hobart Henley completing "Tillle. the Toiler" 
with Marion Dalles. Matt Moore, Geo. K. Arthur, 
Gertrude Short and Bert Roach. 

Edmund Goulding dlrectlngiJ" Diamond Hand- 
cuffs" with Pauline Starke. Pauline Starke re- 
placing Mae Murray and Greta Garbo. 

Tod Browning directing "The Day of Souls" with 
Renee Adoree and John Gilbert. 



METROPOLITAN' STUDIOS, 1040 Las Palmas 
Ave. 

Scott Sidney directing "Xo Control" with Phyllis 
Haver and Harrison Ford. 

H. Mason Hopper directing "Getting Gertie's 
Garter" with Marie Prevost and Charles Ray. 



UNITED ARTISTS STUDIOS. 7100 Santa MoiUca 
Blvd. 



Sam Taylor directing Mary Pickford. Production 
yet imtitled. 



Marshall Xellan directing "Cariotia" with Con- 
nie Talmadge. (First National Prod.) 



Fred Xlblo directing "Camille" with Xonna Tal- 
madge and Gilbert Roland. (Fhrst National Prod.) 



UNIVERSAL STUDIOS. Universal City, Calif, 

■ 

Harry Pollard directing "Uncle Tom"s Cabin' 
with Gertrude Astor. John Roche and Vh-glnla 
Gray. 

Paul Leni dIrertinE "The Cat and the Canary" 
with Laura La Piante. Arthur Edmund Carewe. 
Creighton Haie, Gertrude Astor and Tully Mar- 
shall. 



Robert Vignnla directing "Cabaret" with Gllda 
Gray. 



ABROAD 



Rex Ingram dJrectinc " The Garden of Allah" with 
Alice Terry and Ivan Petrovlch. 



CHANGE EV TITLES 



"Ankles Preferred." with Virslnla Valli and Lou 
Tellegen has been changed to "Stage Madness." 



BUSINESS OFFICES 



Associated Exhibitors. Inc.. 35 West 45th St.. Xew 
York City. 



Chadwick Pictures Corp., 729 Seventh Ave., Xew 
York City. 

Columbia Pictures, 1600 Broadway, New York City. 

Educational Film Corporation. 370 Seventh Ave.. 
Xew York City. 



Victor Schertzincer completing "Stage Madness" 
with Virginia Valli and Lou Tellegen. 



HAL ROACH STUDIOS. Culver City, Calif. 

"Our Gang" working on comedies. 

Charlie Chase. Bull Montana. Eugenia Gilbert. 
Eugene Tailett. Edith CarA-ln. Amber Xormand. 
Valentine Zimina. Mabel Xormand, Ethel Clayton. 
Agnes Ayres, Theda Bara and Helene Chadwick — 
all working on two-reelers. 

LASKY STUDIOS. 5341 Melrose Ave. 

James Craze directing "Louie the 14th" with 
Wallace Beery. 

Arthur Rosson directing "The Waiter at the RItz" 
with Raymond Griffith and Alice Day. 

Richard Rosson directing "Blonde or Brunette" 
with Adolphe Menjou, Greta NIssen and .\rlette 
Marc hall. 



Reeves Eason directing " Nine Points of the Law" 
with Hoot Gibson. 



Production will soon start on "Show Boat," with 
Man' Philbin. Xorman Kerry and Jean Hersholt. 



Production will soon start on "Fast and Furious" 
with Reginald Denny. 



Edward Sloman directing "The Man Who 
Laugh?" with Conrad Veldt. 



WARNER BROTHERS STUDIOS, 5S42 Sunset 
Blvd. 



EAST COAST 



Production will soon start on 
Gary Cooper. 



'Arizona" with 



Film Booking Offices. 1560 Broadway, New York 
City. 



Inspiration Pictures. 565 Fifth Ave.. New York City. 
Metro-Goldwyn, 1540 Broadway. Xew York City. 



Pathe Exchange, 35 West 45th St., New York City. 

Producers Distributing Corporation. 1560 Broadway. 
Xew York City. 

Rotbacker Film Mfg. Company. 1339 Dlversey Park- . 
way. Chicago. 111. 

Tiffany Productions, 1 542 Broadway. New York 
City. 

United -Artists" Corporation, 729 Seventh Ave.. Xew 
York City. 

Universal Film MIg. Company. Heckscher Building, 
5th Ave. and 57th St.. New York City. 

Warner Brothers. 1600 Broadway. Xew York Cltj-. 



100 



Photopi.ay Magazine — Advertising Section 



lOI 



Studio News and Gossip 



[ CONTINUED FROM PAGE QQ ] 

a moment the place was flooded with the 
voices of hundreds of extras. It was superbly 
impressive, they say. 

By the same token, in a scene where James 
Lowe as Unck Tojti in "Uncle Tom's Cabin" 
is preaching to the negroes, they tell me half 
a dozen of the colored folk, in religious frenzy, 
claimed to have been converted by their 
colored brother's talk. 

And still they say there is no realism in 
motion pictures. 

WHILE we are on the subject of hearses 
(we weren't, but what difference does it 
make?) let me tell you about the laugh Dustin 
Famum got when he was in Pendleton, Oregon, 
recently, making a western picture. 

He was walking down the main street when 
along came a very large, very gray and yer>' 
glassy hearse in which were sitting nine little 
Indians, looking with unabashed interest 
at the passing scenery. A proud Indian father 
propelled the funeral carriage. 

"Dusty" learned later that Poppa Brave 
had struck oil and rather than buy a bus to 
take the family for an airing, had purchased a 
glassed-in hearse where the children rode in 
safety, sanctity and sanitation. 

By the way, Brother Bill Famum received 
something of an ovation in HoUy^vood re- 
cently for a remarkably colorful performance 
in a cixac presentation of "Julius Caesar." 

OVERHEARD by Montague Love in the 
dark confines of Grauman's Egyptian 
Theater as "Don Juan" was being unspun. 
Monty, as you will recall, is the Borgia's boy 
friend who duels Barrymore. He is now play- 
ing a villainous role in the Fitzmaurice-Gold- 
wyn picture, "Night of Love," but the girl, 
an extra on the latter picture, didn't recog- 
nize the man on the screen as the one who 
now fences with Ronald Colman. 

"Gee!" she breathed as Monty lunged at 
Barrymore. "that guy ought to come over on 
our set and give lessons to the fellow who's 
supposed to duel with Ronald Colman. 
Colman 's great, but the other guy is rotten." 




This is the mysterious gentleman 
who kidnapped the woman evan- 
gelist and took her to De Russey's 
lane on the night of Sept. 14, 1922. 
Who can it be? Just to relieve the 
suspense, we'll tell you that it's 
Ben Lyon wearing a Benda mask 



^kat is tkt rziatlon bztwzzn 
clotkds and compioxLons^ 




SMadarnefVLonrid: 

Famous Paris Dressmaker, says 

"The complexioji . . , /j" an essential back- 
ground for clothes. Make the most of it/' 



MONG the notable dressmakers of 
Paris, none commands a higher place 
than Madame Vio/inet. Her beautiful salon 
oa the Champs Elysees is a mecca for the 
sman world. And the fascinating creature 
inthepicture is the beautiful — and favorite 
— mannequin on whose lovely shoulders 
rests not a little of Vionnet's fame. 

This piaure ably illustrates the impor- 
tance of the complexion in the present 
mode. For the dose, smooth hair, the 
elegant simplicity of the jewels, the ex- 
quisite texture of the gown — all center 
attention on the quality of the skin. 

The only way to improve the quality of 
your skin is through basic treatment. The 
first step is so simple — thorough nightly 
cleansing with Daggett & Ramsdell's Per- 
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as easy — use the new D&R Perfect Van- 
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D&R Perfect Cold Cream 
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and $1.00 jars. Also an 
extra large jar for $1.50. 
Perfect Vanishing Cream in 
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in inexpeDsive tubes. _ 

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Also makers of Perfect Shaving Cream, I 

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n 



CITY STATE-... 



WbOD you writ© to advertisers please menllou PHOTOPLAY MAGAZINE. 



I02 



Photoplay Magazixe- 




'i>it'IH.1"( .<^rM- . 



You can always find Ivory when you want it- 
at the grocery or in your tub! 

"If floats" 

IVORY SOAP 



-Advertising Section 

And this of Monty who is one of Holly- 
wood's fencing experts. 

T ITTLE Hope Wilson was ha\-ing her 
-'-'picture made at Harold Dean Carsey's 
studio. She's the five year old daughter of 
Carey Wilson, the scenarist, and the preco- 
cious offspring of a brilliant father and a 
beautiful mother. 

"What,*' she asked Carsey, pointing to a 
huge brass plaque on the wall, "do you eat 
out of that?" 

"Soup," answered Carsey. 

"What do you eat out of that?" pointing 
to a smaller size. 

■■Mush." 

"What do you eat out of that?" A still 
smaller size captured her attention. 

"Oh . . . pie." 

"What do you eat out of that?" seeing a 
very small plaque. 

"Meat." 

"You must be dieting," said the Holly- 
wood-wise miss. 



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Splendidly -written short stories, some of -which you -will see 
acted at your moving picture theater. 
Brief reviews vnth. the casts of current photoplays. 
The truth and nothing, tut the truth, about motion pictures, 
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You have read this issue of Photoplay, so there is no necessity 
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Send a \fonev Order or Check for \ ] 
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PHOTOPLAY I 
MAGAZINE 

Dept. 1-B 



and 



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CHICAGO, ILL. 

receive the next issue and five 
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PHOTOPLAY MAGAZINE, 

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Gentlemen: — I enclose herewith Sl-2.=i (Canada 
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Citi- State.. 



Blind 



I CONTI.VUED FROM PAGE 72 j 

happiness — was stiU afraid — by telling her 
story to this man, with his stem, Britannic 
aloofness, 

''Don't you ever dare call yourself old. or 
question my love, Allen,"' she said fiercely in 
shaken impatience. "Vou are the wonderful 
one. Vou. to take f>oor me, and make all of 
this possible. ..." She waved her hand in the 
direction of the great room. "I think that is 
why I am so afraid I cannot hold your love.'* 

"Joan!" Allen faltered in amazement. 
''What on earth are you talking about? WTiat 
makes you so queer this evening? Vou, not 
hold my love? When I hve in daily fear of 
losing you? if is ridiculous! I'll have Doctor 
Wilbur drop in on you tomorrow; your ner\-es 
are all shot to pieces."' 

A man stepped out on the balcony. 

"Well, dash it all!" he exploded to Allen. 
"Fancy finding you out here alone vrith your 
wife. After seven long years of married Ufe, 
too." 

Joan and ..Allen laughed, although rather em- 
barrassed by the raillerj'. 

"Joan was a little bowled over by the heat," 
Allen explained. "That's why we are out 
here." 

"Yes, Mr, Wellington," Joan added, "I have 
never seen such a crush," 

WeUington gave a happy sigh. 

"It has been a wonderful night!" he said. 
"The moft wonderful concert we have ever 
had. I'll have a nice sum to give you for your 
Tommies, .\llen. .\nd by the way, I have 
about persuaded Alden to let you operate some 
time the first of the month, or maybe sooner. 
He thinks it is hopeless, of course, but since I 
have told him some of the wonders you have 
done, he is willing to have a trj' at it." 

Joan felt an ic>- catch at her heart. For an 
instant she had an insane desire to scream her 
stor\' to the world — to hurl a challenge at this 
blind man — to dare him to tr>- and regain his 
sight by her husband's skill. . . . But Wel- 
hngton was speaking to her . . . 

"I must not forget that I came out here to 
ask a favor of you, Madame Joan," he was 
smiling, 

"A favor of me?" she asked bewildered. 

"Yes." he nodded, "a ver>' special favor; 
and I hope you are feeling 'fit' enough not to 
disappoint me. ilr. Alden"s accompanist has 
become suddenly indisposed. Will you accom- 
pany him in his last number?" 

Joan sat as if turned to ice. Play before that 
mass of people with Peter? She almost laughed 
aloud, hysterically, at the irony of it. \Miat 
would Peter say if he knew? She, Joan, the 
discarded — the unwanted — drawn by fate to 



Etery adTertlaement in PHOTOPLAY MAGAZINE Is guaranteed. 



Photoplay Magazine — Advertising Section 



103 



play ' 
fell 



ith him on the night of his triumph. She 
ielt as if she must be asleep, dreaming it all. 

"You u'ill, won't you, Joan?" she heard 
Allen sa_\-ing proudly. "Think what a compli- 
ment Jason is pajdng you. ..." But Well- 
ington interrupted him. . . . 

"It is not as a compliment that I ask Ma- 
dame Joan to play with Mr. Alden," he said, 
somewhat impatiently. "It is because she is a 
musician." 

Slowly she got to her feel; some impulse over 
which she had no control forcing her to say: 

" Yes, I will play for Mr. Alden. Why not? " 

LIKE one walking in her sleep, she followed 
Wellington into the room. One thought 
pounding in her brain. . . To meet Peter face 
to face after twenty years — to talk to him — play 
with him and not have him know it. . . . 
Again that insane desire to laugh. . . . 

"Mr. Alden,' ' Wellington's voice came to her 
as they reached the stage, '"this is Mrs. Ram- 
sey, of whom I spoke. She has consented to 
accompany you." 

Still in a daze, she placed her hand in Peter's 
— felt the firm, warm clasp — heard the well- 
remembered ^■oice thanking her. . . . Then, 
seating herself at the piano, she waited while 
someone placed a sheet of music on the rack 
before her . . . Massenet's Meditation . . . 
Thais. . . . 

Her fingers ran lightly through the opening 
bars of the exquisite old aria — the music was 
unnecessary — how many, many times she had 
played it in the old days. . . . Then, on and 
on until, at the end, she almost expected to feel 
his Ups on hers as . . . 

The thunder of applause brought her sharply 
back to the present; and dazedly she bowed 
and smiled down on the sea of faces below her. 

"One more!" the throng cried; jerked out of 
their Britannic resent. "One more!" 

Once again they played the Liebesfreud — 
Love's Joy . . . 

What an utter, ghastly joke the whole thing 
was. Almost too incredible to be true. 

Finally it was all over; and she was safe at 
home. But was she safe? Would she ever feel 
safe again? It was hard — hard — when she had 
been so sure the past was a sealed book. 



"Joan," Allen said, one morning several 
weeks later, "I have a request to make, dear, 
and I hope it will meet with your approval." 

Again that icy dread caught at her heart; 



there was hardly a day now that she did not 
feel it. 

"Any request that you make, Allen," she 
said firmly, "meets with my approval." 

He gave her his quick, sweet smile. 

"My Joan!" he said fondly, then: "As you 
know, dear, it has been just three weeks since I 
operated on Mr. Alden ..." He paused. 
Joan stiffened — what was coming ne.xt? \\'hat 
did he want? Not . . . Surely not . . . 
But he was speaking again: "In another three 
weeks I shall remove the bandage — in the 
meantime — I want him to stay here." 

He was smiling at her and she wondered 
dully if her terror showed in her face. Here! 
Peter here! "No, no!" she said wildly to her- 
self. "It must not be. It shall not be. He 
must not come here." But she must say some- 
thing — must answer Allen in some way. 

"I know," he was saying again, "that we 
have rarely had a private case here before; and 
I have noticed that you do not seem to care for 
Mr. Alden; but I have staked so much on this 
case. ... It means so much to me — to the 
world — that I am an-xious to watch him every 
minute." 

In the past many of the blind soldiers had 
stayed with them — cases that needed special 
attention and care, and she had always been as 
interested in them as Allen. How could she 
refuse him this, his greatest case, and not tell 
him why? 

Again the question — should she tell him all? 
"No, I cannot tell him," she thought wildly. 
"He would not understand." 

Trying to still the terror within her, she got 
up, and, crossing the room, stood looking out on 
the peaceful garden. . . . 

" Bring him b}' all means, Allen," she said in 
a voice she tried hard to make sound natural. 
"You know, my dear, any case that you are 
interested in — I am more than glad to have 
here." 

"Ah, Joan," he thanked her, "what a won- 
derful woman you are! No man has ever had 
such a wife." 

SO the swift days sped away. Peter had been 
there three weeks, and tomorrow morning 
the bandage was to be removed. Tomorrow 
morning she would know! What would it 
mean to her? Almost, she had been tempted to 
tell Peter — to throw herself on his mercy. . . . 
But suppose he did not recognize her? . . . 
Twenty years was a long time ... Or sup- 
pose the operation was not successful? . . . 




Not such a bad looking fellow, 

when you meet him on the street. 

It's Billie Bevan, if you haven't 

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But with the trick comedy make- 
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Does he care? He does not. He isn't 
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In ihe evening after dinner they were sitting 
on the terrace wailing for Allen. She was rest- 
less— ^uneasy — and Peter talked only in 
snatches. 

"Vou have a wonderful talent, Mrs. Ram- 
sey," he said suddenly after a long silence. 
"Alany people play, even well, but few have 
the perfect understanding of music that you 
have. It is a rare gift. I have only known one 
other who had it ... " He paused abruptly. 

"LJER heart raced madly. What would he say 
•*^next? But he seemed to have forgotten 
her; to be lost in a deep reverie. 

" If the operation is successful, what will you 
do?" she asked him, unable to bear the silence 
a second longer. 

"If the operaLion is successful?" he echoed 
\aguely. as if awakening from a long sleep; 
then slowly: " But it cannot be, you see. I-'or, 
in spite of Doctor Ramsey's great skill, I shall 
always be blind — and none are so blind as those 
who ■u-l/l not see. ..." His voice trailed off 
again into silence. 

What did he mean? Was he thinking of the 
old life? Of the time when he had left her for 
his career? 

"I have been so happy here," he was saying 
again, a tired note in his voice, "so much hap- 
pier than I ever expected to be again," he 
added as if in afterthought — " w hether the 
operation is a success — or a failure — I want you 
to know that, and for it, I thank — you. We 
rarely appreciate the real things in life until 
too late. ..." 

Hearing Allen's voice, she was spared an 
answer, and in a few minutes he joined them, 
taking Peter off to bed. 

Lying awake far into the night, Joan went 
over Peter's words to her — o\'er and over 
again. Was he the same old Peter — taking all 
and giving nothing in return? Would he, 
knowing that Allen had taken him into his 
home as a friend, take her from him as he had 
taken her years ago, only to leave her if she 
stood in his way? Oh, if she had onl\' told 
Allen! If she had the courage to tell him now 
— before what tomorrow might bring forth. , 
She was haunted by the thought. 

In the morning she awoke tilled with dread; 
wishing with all her heart it was all o\'er. Go- 
ing downstairs, she found that Allen, wanting 



to remove the bandage before the light was too 
strong, had taken Peter into the room he used 
for his patients. 

\\'andering around, too nervous to slay in 
one place, thoughts kept crowding her mind. 
Almost, she found herself hoping the operation 
would not be successful. Her happiness would 
be safe for all time. . . . But what would it 
mean for .Allen? 'Ihe bilter disappointment of 
defeat. . . . And for Peter? ... A lifetime 
of darkness. 

"No, no!" dismissing the thought almost as 
soon as it had come to her, "that must not be. 
It must be successful'even if it means the giving 
up of my happiness — for Allen's sake." 

Suddenly a wild desire to run away and hide 
until it was all over seized her. If she could 
only go, now that the time was so near, .''he 
could not face it! But even as the thought 
flashed through her mind, she heard .Allen 
calling her. 

Running swiftly toward his room, everj'thing 
forgotten in her desire to be with him no matter 
what the result of the operation might be. he 
met her in the hall, catching her to him. 

"Joan, Joan!'' he exulted. "We have won! 
He can see! Oh, he can see!" 

"Even as I knew he would, dear," she 
answered, smiling at him. although lier heart 
seemed suddenly to die. It was over, she knew, 
and realized at the same time how much she 
had really hoped against it! 

AND Peter? Peter was still standing in the 
center of the room, too dazed — too over- 
come — to believe that it could possibly be true. 
AVould he awaken as he had done so many 
times in the past, only to fmd it all a dream? 

A little set smile on her lips, but with hope- 
less eyes, she followed Allen iiito the room. 
Hearing someone moving behind him, Peter 
turned and faced her. . . . Would he know 
her? 

-A slightly puzzled frown gathered his brow 
as he stood looking at her — deep into her eyes 
— looking — looking. . . . 

Did he recognize her? . . . Was all happi- 
ness to be taken from her again? If he did 
recognize her, would he read the wild appeal in 
her eyes? 

Allen slipped his arm around her slender 
body. 




It is a real girl and she seems to be perfectly happy in the goldfish 
tank. Can you figure out this illusion? Tod Browning is explain- 
ing the trick to John Gilbert. The illusion will be used in "The 
Day of Souls" 



Kvcry ailveitiscraent In THOTOPLAY MAGAZINE Is guaranteed. 



Photoplay Magazinf, — Advertising Section 



105 



"And so we have won, Mr. Alden," he said, 
laying his other hand affectionately on Peter's 
shoulder. "You are free! Free from the fear 
of darkness. After a time of complete rest* yo u 
may resume your studies or do 'most anything 
you please. It has been a wonderful, wonderful 
case!" He was all the surgeon now. "And I 
only hope many others will benefit by it." 

With a little start, Peter withdrew his eyes 
from Joan's face, and drawing a long breath, 
turned to him. 

"I cannot yet believe that it is true," he 
said speaking slowly, haltingly. "To be able to 
see! To stand on a stage and see the faces be- 
fore me as I play . . . ah. Doctor Ramsey, you 
can never understand the glor\' — the wonder of 
it! . . . And I have only you to thank. But 
can I ever thank you? Can mere words express 

how I feel " He broke off abruptly; his 

eyes again resting on Joan for a fleeting mo- 
ment and then closing as if trying to imagine 
himself once more in darkness. . . . 

THAT he had recognized her, Joan knew, 
now. What would he do? Would he, in 
gratitude for what Allen had done for him, 
leave her in peace? 

"What are your plans. Mr. Alden?" She 
heard Allen's voice questioning. "Have you 
made any, or were you sure that we would not 
win?" 

She held her breath — agonizing — waiting for 
his answer. . . . What would it be? 

"Plans?" he repeated; then a great light ap- 
peared in his eyes, and he continued softly: 
"The rest of my life shall be given to those who 
love my music. I have been blind in more 
ways than one — you have made my eyes see 
again, Doctor Ramsey — now I must try to 
teach my soul to see as well " 



Fighting the Sex Jinx 



[ CONTI>rUED FROM PAGE 37 ] 

is too late. In their eagerness, they would go 
to extremes and play guiltless lilies. 

But there is dissatisfaction in the other 
camp. Too much virtue is also a curse. Like 
extreme wickedness, perfect %-irtue passes the 
border of credibility. 

TF the public can no longer believe in the sin- 
-'-fulness of Theda Bara, neither can it swallow 
the innocence of Mary Miles Minter. The 
early type of ingenue is as out-of-date as the 
hobble skirt. 

Ladies who have achieved a reputation that 
is a little too spotless are stamping their feet at 
managers who would make them too good. 
Alice Joyce has flatly declared that she will no 
longer be the respectable mother on the screen. 
It is great to be a respectable mother off the 
screen, but it is a tiresome professional job. 
Women go to see Alice's gowns, because they 
are always in perfect taste, and they go to 
watch her charming manners. But they sel- 
dom have any real and vital interest in the 
parts she plays. 

Miss Joyce, remembering Blanche Sweet's 
performance oi Anno Clin'sti'e, hopes for shabby 
clothes and strong meat. Figuratively speak- 
ing, she is willing to wear the Green Hat, the 
Scarlet Letter or Salome's dancing shoes. She 
is willing to be anything but the impeccable 
Society Matron with the wayward adolescent 
daughter. 

May McAvoy is tired of being the Little Pal 
of the hero who stands by while the hero sows 
his wild oats. May longs for a few mouthfuls 
of wild oats for herself. May has been cursed 
by being blue-eyed and tiny. 

Lois Wilson wants to play Carmen. In her 
revolt against too much virtue on the screen, 
Lois has taken to snappy dressing, snappy con- 
versation and snappy friends. If she has to 
visit every night club in New York, Lois is go- 




BELLE BENNETT in 'TAe ' 
Fourth Commandment' ' 



Watch This Column 

// you want to be on our mailing list send in your name and address 

I think ''The 

Fourth Command- 
ment" vfiW be one of Uni- 
versal's most entertaining 
pictures this year. The 
theme is strong and I can 
assure you the picture is 
a human drama which 
might fit any home any- 
where. 

The story, writ- 
ten by Emilia John- 
son, has its origin in a situ- 
ation that is common in many families — the 
presence of the husband's mother in the house- 
hold, and the jealousy of the wife, which, in 
this case, flames into a consuming passion with dire results. 

BELLE BENNETT is starred in "The 

Fourth Commandment" and in stories of the 

heart she reigns supreme. She portrays the varying phases 
of a young girl in her twenties, living in luxury, and then 
runs the cycle of human emotions in an ameizing role. There 
is a remarkable and thrilling climax, but I leave it to you 
to see. In my estimation, the work of the star is- a little 
short of marvelous. 

This is an Emory Johnson production. The sup- 
porting cast includes those excellent and popular folks ■ — 
MARY CARR, ROBERT AGNEW, HARRY VICTOR, JUNE 
MARLOWE and KATHLEEN MYERS. 

Unquestionably this is going to be a UNIVER- 
SAL year. The list of extraordinary pictures is pretentious. 
In particular your attention is directed to "Les Miser ables" and 
"Michael Strogoff. " They are two of the world's most magni- 
ficent productions. You will see acting that will put you on your toes. 

In "Michael Strogoff" for example, IVAN 

MOSKINE, one of Europe's leading players, portrays Jules 
Verne's great hero. As a result of his marvelous work I wanted to 
be the first American producer to bring him to Hollywood, and I 
am proud to announce that this great artist will soon be a Univer- 
sal star in American made pictures. Watch for him in mighty 
' 'Michael Strogoff" and you will know what wonders are in store. 

L^(2r/ \aemmle 

{To be continued next month) ^-' President 

Send 10c for autographed photograph of Belle Bennett 

UNIVERSAL PICTURES 

730 Fifth Ave New York City 



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Photoplay Magazine — Ad\ertising Section 



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ing to prove to the producers that she is not as 
white as she has been painted. 

The vogue of the superlatively good girl may 
last longer than the vogue of the vamp, but the 
ending is just as ignominious. The reputation 
of an ingenue is a sensitive plant; it cannot 
stand too much heat. Mary Miles Minter be- 
came in\'olved in a murder mysterj' and an im- 
plied love affair and the public would have no 
more of her. 

Wanda Hawley was smothered by sugar 
and the public decided that too much sugar is 
bad for the system. 

The appeal of the "good girl" on the screen 
is the appeal of the ideal. The girl who plays 
such roles lasts in favor just as long as she can 
convince audiences of her sincerity; just as long 
as she can persuade the audience that the ideal 
which she represents is not grotesquely impos- 
sible. 

For some strange human reason, great virtue 
is more plausible than extreme wickedness, 
therefore the good girl keeps her vogue longer 
than the vamp. Provided, of course, that the 



temptations that assail her are picturesque and 
not tiresome. 

When May .Allison felt that her heroines 
were beset by too many routine situations, she 
changed neatly to more sophisticated parts and 
convinced directors that she was cleverer than 
the r6les she had played. Like Miss Joyce, 
Miss McAvoy and Miss Wilson, hers was not so 
much a revolt against the ideal itself as against 
the unimaginative treatment of the ideal. 

Woe to the ingenue whose sincerity is chal- 
lenged! When the public begins to doubt her. 
she can never again look a kitten in the face be- 
fore the camera. When an ingenue acquires 
ten pounds and three husbands, she is lost to 
the world of Little Nell. 

And woe, too. to the vampires who acquire 
reputations for being happily married and good 
to the folks! 

Screen audiences are intolerant of the sex ab- 
stainers and they are just as intolerant of the 
sex bacchantes. Enduring popularity only 
comes to those actresses who can take sex or 
leave it alone. 



The Truth About Breaking Into the Movies 



I CONTINUED FROM PAGE 39 J 



every capacity, clerks to stars, are beautiful 
in Hollywood. They become the rule, rather 
than the exception as in other communities. 
"I'll attend to you in a minute," she said, but 
it was twenty before she regarded me again. 
Then when I murmured I had come about 
casting, she plunged a knife through me with 
her eyes. "Outside around the corner," she 
stated with slow, sarcastic emphasis. 

There was a kindlier girl behind the casting 
window. "We get everyone through Central," 
she told me. 

"Please," I said. "I'm not listed there. If 
you'll just take my name and address. . ." 

"We get everyone through Central," she 
repeated, and smiled. 

"But. . ." I started. 

"We get everyone through Central," she 
said again. So then I left. 

Some distance away, against the sky, I saw 
the sign of Metro-Gold^vyn-Mayer. Culver 
City, movie-born, is not really a romantic 
movie city, as you would expect. It is a little 
country village of tiny stucco bungalows and 
small somnambulant country grocery stores. 



The studios stand out of it like strange 
monsters. 

The exterior of Metro-Goldwyn-Mayer is 
cold grey cement. Everywhere there are 
signs. "This way to the studio of Metro- 
Goldwyn-Mayer." "This way to the lunch 
room of Metro-Goldwyn-Mayer." "This 
way to the casting office of Metro-Goldwyn- 
Mayer." 

The casting office is a tiny bare room with a 
fence running across it. On one side is the 
mob, on the other an excited young man and 
a doorway to heaven, reading "Office of 
Clifford Robertson, Casting Director." 

The excited young man walked up and down. 
"Those of you with pay checks, step fonvard," 
he shouted to the packed mass of humanity 
before him. "The rest of you get out." 

The pay check people crowded forward. The 
rest did not move. The pay check people got 
their money, but only a few of them went 
away. The rest stood as silent, as expression- 
less as tired horses. 

"Get out." screamed the young man. 
"There's nothing doing." No one stirred. I 




Reversing the usual order of things, 

Gilda Gray wears all her curls on 

the front of her head — 

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Photoplay Magazine — Advertising Section 



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Just a typical casting director's 
face. This one happens to be Dan 
Kelly's, but they're all alike. Im- 
agine trying to sell such a guy on 
the news that you were only sweet 
sixteen 



noted there were three other women besides 
myself. I tried to get forward, into line with 
the young man's eye, but I couldn't. "There's 
nothing doing. What are you waiting for? 
Get out, get out." Nobody moved. 

The outer door opened and a tiny figure 
came into our crowded corral. "There's noth- 
ing doing," the young man started, and then 
he saw her. "Oh, hello," he said. 

She was about five feet tall and her lips were 
crushed strawberries and her eyes were much 
too meek. "Hello, yourself," she lisped. 

"Come right in." The young man held open 
the gate. "There's nothing doing." he 
screamed at us. "Get out, all of you." He 
put his arm across the girl's shoulders and 
they disappeared into the inner office. 

The crowd slowly began to dissolve. A 
bearded man standing next to me smiled. 
"Work yesterday?" he asked. 

"No," I said. 

"Or the day before or the day before that?" 
he asked. I shook my head. "Well," he said, 
"I'm big hearted. I just made three-fifty. So 
I'm going to treat you four girls." He dug into 
his pocket and brought out several little rolls 
of mints. "Every girl gets one," he said. 

T HAD noticed a gaunt woman next 'to me. 
-*■ Now she rushed forward and clutched at the 
man's hands, grabbing the little packages. 

"No, you don't," he cried. "Give those 
back. You can only have one." 

She paid no attention to him. She was al- 
ready stuffing those candies in her mouth. To 
her, plainly, they were food. 

I was trembling a little as I walked down 
toward Hal Roach's studio. There was a very 
pert and very beautiful girl behind the tele- 
phone switchboard. "Central Casting," she 
flung at me over her left ear and went back to 
pushing plugs. 

Eleven o'clock. I stood by the roadside, 
thinking. How, oh how, was I going to break 
in? How does any girl ever break in? 

A flivver stopped beside me. The driver was 
a nice looking man and he said he would be 



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filad to take mc down to United .Arllsts' on 
Santa Monica Boulevard. He told mc about 
himself as we rode along. He was a carpenter 
and married. "But I've got her so trained she 
don't say a word if I'm missing a couple of 
nights," he confessed. "How about our having 
dinner together tonight?" 

"Well," he said when I had replied I feared 
I couldn't, "I guess you'd better get right out 
here." 

I was, at least, back in Holl>nvood. I plodded 
along through the sunshine that beats down 
like bright copper pennies. A black satin 
dress, high heeled slippers, a tiny close hat of 
Austrian velours are a smart ensemble tn New 
York. During a California afternoon they can 
become a menace. I was so hot and so thirsty 
and so tired. 

"Come back around the middle of Novem- 
ber," they encouraged me at United Artists. 
Se\eral blocks farther. "Central Casting," 
said the telephone girl at Educational. MQes 
farther and no shade anyT\'here. "We're not 
doing a thing," said the girl at the Fine Arts 
studio. She smiled most pleasantly. "I'd 
help you if I could, but we haven't got a com- 
pany working.'' She spied a woman behind 
me. "Oh, come in. Miss Nelson,'' she cried 
to her. "We're casting and Mr. Jones \vill be 
so glad to see you." She looked back at me. 
"We're not doing a thing." she said. 

Miles and miles and miles, literally, back to 
To.x's where I met exactly the same situation, 
where a red-haired young person went into a 
studio I had just been told was closed. 

That was one day. The next I started out 
early for Sennett's which is in Glendale. 

"Trj'- yourself out on a scales, kid," said the 
man in charge. "You've got to be a shapely 
mamma to get b}' us." I rode back to Holly- 
wood, transferred and got another bus for 
Universal City. A gay and smiling youth took 
my name. "Registered at Central, Ruth?" 
he asked. 

T WAS getting desperate. "You can get me 
^ on their list if you will," I pleaded. "Please 
help me." 

"Well, come around some time next month 
and bring your pictures," he said. "I guess I 
can fix it up for you then." 

Back again to Hollywood. I got to Metro- 
politan the hour the casting office was closed. 
Many casting offices do close for certain hours 
every- afternoon, but as none of them close at 
the same time, you can only learn each one's 
schedule for yourself. A weeping girl was 
coming down the steps at Warner's. "Don't 
go in there," she cried at me. "It's always 
the same in there. Either the casting director's 
out, or there's nothing doing, or they've got 
a new director, or something. You never can 
get in, even for a moment." She went sobbing 
away. Her beauty in any other city would have 
stopped traffic. 

That was a second day. At F. B. O. and at 
Lasky's they see all comers every morning. I 
was at F. B. O. at ten. "Say, I lilce 'em little," 
remarked the assistant-casting director, look- 
ing me over. "Why weren't j'ou around yes- 
terday? I could have given you a break. Now 
I don't know when we'll have a thing for girls — 
we're making war pictures. But I do like 'em 
little — so you keep in touch with me." 

Silly as that was. it bucked up my spirits. 
By foolish words that man had made me less a 
commodity, more a person. Lasky's is close 
by. I entered there happily. When, out of the 
jumble of more than sixty there, the boy 
weeded me out and took my name, I laughed 
with joy. 

I forgot I was a newspaper woman getting 
a story. When I got that summons to see a 



real hve casting director, i was convinced I had 
personality, ability, even beauty. That's 
what Holly^vood does to you in three days. 
Gomg down the boulevards you see the backs 
of sets against the sky. You see fenced off 
spaces, "These cars belong to the employees of 
Blank's studio." Y'ou see bright lights burning 
fiercely at midday and occasionally you catch 
a fleeting glimpse of some wide, vacant, beauti- 
ful face that is set to earn its o\\ner a million 
dollars. And a sort of madness comes upon 
you. Y'ou believe it would be more wonder- 
ful, more beautiful, to be on the inside of a 
studio, just to belong, in any way, in any 
capacity, than to do anything else in the 
world. You know why girls stay there and 
star\'e. You know why boys rob to rcirain. 
It takes so much and so little to get in. Suc- 
cess is an ; ccident. Failure is an accident. 
The mirage occurs. You sniff the gold dust 
and your sense of values is destroyed. 

I know because I went in to see that casting 
director, expecting anything, prepared for any- 
thing. Why I survived the mob, I don't 
know. I shall never know, for he turned me 
down immediately. "Go back home," he 
told me quietly. 

TT was the fourth day. I was subdued. I 
-'-climbed very quietly on the bus for Burbank 
and the new First National studios. I hadn't 
been out there before, since that studio is so 
far away from any other. The girls at the club 
had told me only one company was working. 
In New York I would have held such a trip 
hopeless. But in Hollywood I didn't dare, any 
more than any other girl there dares, to be 
hopeless. I couldn't permit myself to fail. I 
had to take this last chance. 

The First National Studio is the most 
beautiful one in the West, the first great studio 
to be builded as a unit with complete modern 
movie equipment. I stepped slowly off the 
bus and stopped to see the roses blooming 
riotously before the low Spanish buildings 
w^hich are the studio offices. 

It was my last chance. I walked up the path 
to the casting office slowly. I wanted to cry. 
I had noticed, getting off the bus, that there 
were two holes through the toes of my slippers, 
and the cap was gone off my left heel, new 
shoes worn out in my four days job hunting. 

"You can go in to see Mr. Kelly," said the 
office boy. There was no one else about. 

I walked into an inner office. I was so blue 
and low I hardly could look up. It would 
have been something of a joke in the beginning 
to admit to my editor I had been beaten b}' 
Hollywood. But the joke was gone now. 

"I may have something for you in a monlh 
or so," said the casting director. 

I looked at him very directly. "Do you 
mean that?" 

He smiled. "No." he said. 

"Then why say it?" I asked. 

His name is Dan Kelly. "When I don't," 
he said, "the girl or boy trjdng to break in 
hangs on anyway. They stand here and argue 
with me. They take up much more time than 
if I hand them out pleasant lies. And, besides 
I don't know positively that I won't be able to 
use them in another month. I never can tell 
what calls I'll get from the studio. All things 
are possible here." 

"Listen," I said, "I'm a newspaper woman. 
I must break in. Please give me at least a 
day's work." 

"That's a new gag," said Kelly. "Why 
don't you call yourself a countess, too?" 

I produced my credentials. "That's differ- 
ent," he admitted. "You can work tonight, if 
you want to. Come at seven and I'll put you 
on Miss Moore's picture as a street walker." 



Next month you will see the inside workings of a studio through Ruth 
Waterbury's eyes, read about her crashing into Central Casting's good 
graces and learning the almost ghastly statistics that office has to offer. 



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Photoplay Magazine — Advertising Section 



109 



1927, According to the 
Stars 



[ COXTINLTED FROM PAGE 2() ] 

Ramon Novarro, like Richard Dix, is in for a 
particularly fortunate period of his career. 
.\lso like Dix, he will come before the public in 
a role that will add greatly to his popularity. 
During the spring months, Mr. Novarro will be 
especially happy in his work and there is an- 
other good cycle ahead of him in the fall of 
1927. 

The Professor had seen Ramon m "Ben- 
Hur" and was an admirer of his work. But 
when he predicted the fortuitous role for 
Ramon, he didn't know anything about the 
ambitious plans for starring Ramon in "Old 
Heidelberg." Ramon was born in Durango, 
Mexico, on February 6, i8qq. 

Marion Davies' horoscope was immensely 
interesting to the Professor. Marion was born 
in Brooklyn. N. Y., on January r, 1900. In the 
past, things haven't been so happy for Marion. 
Her younger days were not particularly fortu- 
nate. Marion has a great sense of duty and 
she was born to take on her shoulders the 
responsibilities of others. 

WHILE the stars gave IMarion some han- 
dicaps, they also gave her definite assur- 
ance of wealth and success. The Professor 
finds that she should stick to comedy and not 
attempt drama. And she is a born leader. 

Clara Bow, born in Brooklyn on July 20, 
1905, is swayed by Leo the Lion. Don't blame 
Clara for her flapper ways; blame Leo the Lion. 
Leo is an emotional animal and all his subjects 
are emotional. Clara is destined to lead a sunny, 
happy life and she will shake off her troubles. 

Leo the Lion also roars in the horoscope of 
Colleen Moore, born in Port Huron, Mich., on 
August 19, 1902. The emotional Leo is a good 
sway for an actress and there are some good 
idles and some good pictures ahead of Colleen. 
Colleen, too, is a good leader and she has a sym- 
pathetic, tactful and diplomatic personality. 




This is a photograph of a character 
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Beecher Stowe's great noveL James 
B. Lowe, noted colored actor, has 
been chosen to create the part in 
Universal's special production of 
the classic 




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Professor Meyer advises Gloria Swanson to 
watch her health carefully during 1927. Gloria 
was born under the same sign as Mary Pickford 
and both girls were destined, from the start, for 
eventful and checkered careers. 

But, the professor says, Gloria must guard 
against nervous disorders and trouble with 
her eyes, teeth, head and heart during the 
coming year. 

And just in case Gloria wants to know 
definitely when to be careful, the Professor 
warns her to be on her guard during the latter 
part of March and the first of April, late in 
June and early In July, late October and early 



November and the latter part of December. 
Unless Gloria heeds this friendly tip from the 
stars, says the Professor, she will have much to 
regret. Gloria was bom in Chicago on March 
27, 1898. 

Of course, if you don't believe in this star 
business, that's your own affair. But if you 
don't believe that others believe in it, just ask 
any star-gazer to tell you, in confidence, how 
many clients he has who are leaders in the busi- 
ness, professional and social world. 

And, anyway, since Jupiter is such a good pal 
of the movies for the year 1927, why not give 
the planet a little credit? 



Just a Little Fella Trying to Get Along 



[ CONTINUED FROM PAGE go ] 



next spring I may produce a stage play. May- 
be on the Coast. Maybe here in New York. 
Anyway, I have a little play I'd like to pro- 
duce." 

And then I remembered that Roy D'Arcy 
married Mrs. Laura Rhinock Duffy, daughter 
of Joseph L. Rhinock. Mr. Rhinock died 
recently, leaving an interest in Loews, Inc., and 
some more interests in the Shubert Enterprises. 

00, if you follow me, the actor who happened 
'^to make a hit in "The Merry Widow "is now, 
in the language of Broadway's gross material- 
ists, "sitting pretty." 

It makes one a little dizzy. 

"As for pictures," again the flashing teeth, 
the hj'pnotic eye, "I have just begun. I have 
just sened my apprenticeship. I could have 
been starred before this. But, no, I didn't 
want to be starred. I said to Louis— that's 
Louis B. Mayer, you know, — I said, 'Just 
give me lots of parts in lots of pictures. I 
want to stick around and learn. Just let me 
do my stuff. You may cut me out if you want 
to. But just give me the parts.* 

"I have just finished 'Valencia' with Mae 
Murray. We have made a knock-out. 'Bucko' 
has done a really big thing. That's Bucho- 
wetzki, you know. It's a masterpiece. The 
best thing 'Bucko' has done. 

"Of course, I am just a poor little fellow try- 
ing to get along. The studio was strange to me 
and so were the movies. But I have learned a 
lot. hanging around and watching. 

"Maybe I am only a beginner, but when- 
ever I have anything to say, I speak right out. 
If I have any suggestions to make — anything 
to improve the story or put punch into the pic- 
ture — I go right to the director and give him 
the idea. If he wants to use it — fine! If not, 
what's the difference? 

"I have been all over the world — traveled in 
all countries. I speak sue languages — French, 
(Jcrman, English, Spanish, Italian and Portu- 
guese." 

"Then, naturally, you want to be a direc- 
tor?" But, really, it isn't necessary to ask 
such questions. 

"Yes, indeed," answered Mr. D'Arcy and 
his eyes lighted up. (Don't forget that the 
word is "hypnotic") "I have written a story 
which I want to direct myself. It will be my 



first starring picture. I can't tell you much 
about the story except that it is a combination 
of 'Variety' and 'The Last Laugh'." 

"That," I commented truthfully, "ought to 
be good." 

"Good, yes. But maybe not good bos- 
office. However, you never can tell." 

"You see," and Mr. D'.Arcy pinched the 
ends of his waxed moustache, "some critic 
wrote in a Los Angeles newspaper that I smile 
too much on the screen, that I don't use enough 
expressions. This man said that I only use two 
expressions. 

" So when that sap came to the studio, I took 
him aside and told him a few things. 'Look 
here,' I said, 'Why should I use all my expres- 
sions at once? Why should I give my public 
ever>'thing at once? No, no; the secret of suc- 
cess is holding something back. Some day I 
shall be a star and I shall want something left. 
And when I am a star, I shall use all my ex- 
pressions." 

T^O paraphrase the advertising slogan; when 
■^ better expressions are used, Roy D ' Arcy will 
use them. 

"Yes, yes," and those hypnotic eyes flashed 
again, "I may be just a poor little fellow trying 
to get along, but I use every trick I can think of 
to put myself over in a picture. There is notli- 
ing I won't do before the camera to attract 
attention. 

"No matter who the star is, I can give him 
opposition. That's fair enough, because I like 
opposition myself- I like to put up a fight to 
get attention. If I am playing in a close-up 
with John Gilbert, I pull my handkerchief out 
of my pocket and wave it at the camera. That 
gets me notice. Jack Gilbert does the same 
sort of thing himself. Why, Jack would break 
a sword over his knee in one of my close-ups to 
steal the scene from me!" 

For years and years, I have been waiting for 
an actor to say something like that. For years 
and years, I have waited for somebody to tell 
the whole, strict truth about picture-stealing. 

It remained for Roy D'Arcy to say it. 
There you have it at last: the Whole Truth 
About Actors. 

And there, plus hypnotic eyes, plus side- 
burns, plus waxed moustache, is how poor little 
fellows trying to get along develop into stars. 



Questions and Answers 



[ CONTINtJED FROM PAGE Si ' 



Myrtle, Washington, D. C. — I am so kind 
that some day I know I shall grow wings. 
Virginia Lee Corbin is the blondest blonde I 
ever saw — and I have seen plenty of blondes, 
Irene Rich has dark brown hair. Write to 
Helene Costello at Warner Brothers Studio, 
Hollywood, Calif. 



G. G., Seattle, Wash. — Ben Lyon is a swell 
dancer, and he likes it, too. You have a good 
start on your career; it isn't so bad to be a 
lit'ry critic. Don't wait so long before writing 
to me again. Age has mellowed my style; I 
was only an impulsive young thing when you 
wrote to me before. 



Every advertisement in PHOTOPLAY MAGAZINE is suaranteed. 



Photoplay Magazine — Advertising Section 



S. B., Seattle, Wash. — Very few hairs of 
any kind — gray or brown! Ramon Novarro 
was born Feb. 6, 1S99. He is five feet, ten 
inches tail. Brown hair and brown eyes. 
Ramon is now working on "The Great 
Galeoto." Conrad Nagel is married to Ruth 
Helms. Raymond Keane has black hair and 
brown eyes. He is six feet tall and weighs 
16S pounds. 

A Friem>, Tampa, Fla. — Richard Dix never 
gets more than a two weeks' vacation so he 
can't find time to go to Europe. You see, 
Richard's pictures are very much in demand 
and he has to keep at work. So you want him 
to stay single. Well, he seems to be obliging 
you. I don't know wliy he changed his name; 
for convenience, probably. John Barrymore 
is married. He was born Feb. 15, 1882. 

F. G. P., Bryn Mawr, Pa. — Slower, slower! 
Only five questions at a time. Come again 
with the rest of your requests. Bebe Daniels 
was born Jan. 14, iqoi. She is engaged to 
Charhe Paddock. Monte Blue is married to 
Tova Jansen. Corinne Griffith is twenty-five 
years old. She is five feet, three inches tall and 
weighs 120 pounds. Married to Walter 
Morosco. Bill Boyd and Elinor Faire were 
married Jan. 19, 1925. Some of his pictures are 
"The Road to Yesterday," "Eve's Leaves," 
and " Jim, the Conqueror." His hair is straight 
but sometimes he has it curled for pictures. 
Elinor Faire was born Dec. 2 1 , 1904. She is fi\'e 
feet, four mches tall and weighs iiS pounds. 

EsTELLE, New York, N. Y. — Ben, shave off 
that beard! Thislady doesn't like it. Mr. Lyon 
is unmarried, as yet, and was born Feb. 6, igoi. 




Will she try to come back? Mary 
Miles Minter has not completely 
abandoned her hopes for a place on 
the screen. She has been trying to 
reduce. Mary has sailed for Italy 
for a vacation. Maybe she will ap- 
pear in a foreign film 




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112 



Photoplay Magazine — Advertising Section 



Girls Wanted 
iortheMovm 




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[ CON'TINX'EO FROM P.AGE 1 7 \ 



We Are Taking Lessons 

Washington, D. C. 

Haxang been an ardent motion picture fan 
since the old Biograph days. I had an oppor- 
tunity during the last week to visit no less than 
six cinema theaters. Of the six, four showed 
first-run .\merican films, and two, UF.\ 
specials, and I have been pondering the differ- 
ence in the two st^'les of productions ever since. 

Confession must be made that the foreign 
photopla>'5 brought a keener enjojinent, 
although one was the expurgated "Variety," 
which seems nothing more than a work-over of 
the PagHacci storj-. It was, in fact, good drama 
on the screen. 

"The Waltz Dream" was the other, and its 
straight comedy and sentiment allow excellent 
illusion. 

One of the American pictures, "Diplomac>"," 
was well thought out and directed, but was 
too politely extravagant. 

I am all American, but art is slipping when 
the illusion of the drama or the photoplay be- 
comes more like delusion — for instance, some 
of our slapstick comedies. Perhaps the differ- 
ence between the two sets of films is the same 
as that between an ornate musical comedy and 
a successful drama — the distinction between 
mere recreation and art. If this countrj' can 
produce "The Big Parade," that "greatest" 
which came to an .American out of a soul- 
searing e.xperience. must we forever soothe our 
public \\ith dressed-up fair>' tales? Is there no 
way to introduce dramatic art into Hollywood 
except through the von Stroheims? 

Gr.\ce Geeex^vood. 

To Keep Peace in the Family 

Toronto. Canada. 

This is to be neither a brickbat nor a bouquet 
but, xNith sublime ner\'e, a suggestion. 

I have just been reading about the English 
criticisms of "The Big Parade" and feel that a 
great big effort should be made on the part of 
peace-lo%ing citizens, of all countries, to stamp 
out this horrible narrow-mindedness that is 
still painfull}' present, even in this day and 
generation. 

It is a good thing for the mo\aes that you 
refuse to di\ulge the religion of the different 
actors and actresses, or these narrow-minded 
persons would have a bad time remembering 
who is an English church member, who is 
Methodist, Presbyterian-, Catholic, etc., and 
which ones they should or should not go to see. 

Xow here is the great suggestion: You know 
what an influence the different film favorites 
ha\e over their admirers. VChy not let some 
of these folks write, in Photopl.w. their ideas 
on narrowness of thought and of intolerance. 
All the Sunday school superintendents and 
ministers in the world could not make a young 
man quit drinking or gambling if he was so 
inclined, but if he reads that his screen 
favorite, some real he-man, scorns these tlungs, 
just see how quickly the young fellow puts an 
end to his folly. 

Do you get my idea? It is ver>' badly put, I 
admit, but I'm sure that a few little talks by 
some of the best-loved idols, told in a human, 
probably humorous manner — not sermons, 
heavens. DO I — would cut a lot more ice than 
anything else could. 

To my mind the greatness of~"The Big 
Parade" lay in the fact that there was nothing 
in it for anyone of any nationality — not even 
German — to take offense at. But trust some 
people to find fault. By criticizing j'ou 
.Americans they do just what thej' accuse you 
of doing. 

Where's the "brotherhood" we are taught to 
practice? 

A C.4XUCK Cousin. 



The Wise Theater Manager 

Richmond, Calif. 

I noticed a most peculiar tiling the other day. 
An odd, almost unprecedented thing in the 
matter of advertisements. It was a sign out- 
side a local theater. This especial line caught 
and held my attention: "In spite of its title, 
*The Marriage Clause' is one of the outstand- 
ing productions of the season." Notice any- 
thing peculiar about that? I did. Just this. 
The ritle is one that would ordinarily be associ- 
ated ^ith a cheap sex picture. It is a title that, 
a few }'ears ago, would ha\'e been called a big 
box office magnet. 

However, the more discriminating fans (and 
their number is daily increasing) now demand 
good pictures. Pictures about real people, and 
with sound values. And the manager of the 
better class theater knows this. Hence that 
unique advertisement. Are motion picture 
audiences improving? That advertisement is a 
sign that they are. 

Vera Hogue. 



Orgies of Close-ups 

Corte Madera. Calif. 

"The play is the thing." This was said by 
Shakespeare, the world's greatest dramatist! 
And that is as true today as it was in Shake- 
speare's time, but in motion picture pkiys it has 
been parodied to — the close-up is the thing! 

Wh\', oh why must we see picture after 
picture spoiled by the stars stealing valuable 
footage from the play itself with the everlast- 
ing close-up? The plot suffers and scenes are 
cut and eliminated to permit bigger and better 
close-ups. The play itself gets lost in a perfect 
org>- of close-ups, not of the cast, but of the 
star! 

The tempo of the picture limps along. The 
precious lines of communication between actor 
and audience are lost in a desert of close-ups. 
In the spoken pla\' do you find a scene acted 
and then stopped while the star laboriously 
grimaces through precious minutes that 
SHOULD belong to the plav itself? You do 
NOT. 

Then why in the moving pictures? 

A moving picture should iIO\'E and not die 
of stagnarion in an org>- of close-ups. Perhaps 
the secret of the public tiring so quickiy of the 
stars is that they get them in too big doses in 
the frequent close-ups, that stars demand and 
GET! Many pictures fail and their failure can 
be laid at the door of the close-up because the 
stor>- is buried under them. Plot and char- 
acterization are sacrificed to this Golem. Let us 
have mo\'ing pictures that MOVE and not 
those that die in their tracks standing still 
wasting precious film on close-ups. 

Hele-v Gbdhxi. 



Bang at the News Reels 

Rochester, K. Y. 
I have long desired to present in this depart- 
ment my ideas concerning the news reels shown 
in every mo\ie house today. Practically ever>' 
week I am bored by seeing several lion cubs 
being adopted by a dog. a venerable wai^hip 
being sunk, or the two White House collies. To 
my mind such things as these have become 
quite cliche. Quite occasionally I am forced to 
sit through a visit to Yellowstone National 
Park, where the star\'ing deer are coming down 
from the mountains for a drink, a tour about 
the Gmnd Can^^on, or an airplane view of the 
\\'hite House. This sort of thing was accept- 
able a few years ago, but it is now grown so 
trite that I make a request for its cessation for 
the next ten or twelve years. 

A. N. HARTSHOfiNE. 



Eyery advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — AD\EU'risiNCi Section 



113 



Speaking of Pictures 



1 CONTINUED FROM PAGE 2 7 



Beautiful and spacious studios re- 
place the wooden shacks. 

Magnificent homes of picture mil- 
lionaires dot the Beverly Hills. Sky- 
scrapers rear along the business 
streets. 

T TNIFORMED butlers at "Pick- 
*-^fair," the palatial home of Mary 
and Doug, now receive the hats of 
DukeandLord with more indifierence 
than Levy's check girl received the 
hats of Mack Sennett's comedians. 
No motion picture star worthy of a 
twenty-four sheet poster but has a 
tennis court carved out of a Beverly 
hillside, a swimming pool of tile, a 
four car garage, and a private pro- 
jection room that costs more than 
the average motion picture theater 
did in those good old days. 

Charlie Chaplin has become one of 
the world's great artists. "Vanity 



Fair" proclaims the slapstick co- 
median a genius. The fifty dollar 
a week cowboy is paid fifteen thou- 
sand a week. Harold Lloyd's in- 
come is computed at two million 
a year. 

Famous authors sit patiently 
awaiting their turn in the offices of 
producers, who now realize that the 
public will tolerate a sense of humor 
in the blackest villain — a little bad 
in every hero. 

The studios have become cos- 
mopolitan. 

'T~'HE great artists of Europe, 
those who have contributed 
most to the screen in every nation, 
are brought here to add their re- 
sources and developments to ours. 
They are not foreigners any more. 
They are fellow workers keeping the 
fire bright under the melting pot. 



Of All the Luck 



f CONTINUED FROM PAGE 84 ] 



It is best to let Helen tell her own story; it 
is an enthralling tale and she tells it well — 
cooil}', calmly and impersonally. She drawls 
it oS with a Southern accent that is too tricky 
to put into type. 

"You see," explained Miss Mundy, "it was 
like this; Karl Brown and Captain Paul Wing 
had gone down into the Carolina mountains to 
make a native drama of the hills for Para- 
mount. 

"They planned to pick the whole cast from 
the mountaineers and they found all the 
characters they wanted except the girl to 
play the heroine. 

"Well, Captain Wing came back to Knox- 
\-ille on business and also to look around for a 
girl. 

"But he couldn't find the right type any- 
where and he had to rush back to the rest of 
the company in the morning. 

"So Captain Wing dropped into a drug store 
near my school to buy himself some razor 
blades. And he said to the girl who waited on 
him: 

" *Say. do you know of any girl around here 
who is movie-struck?' It just happened that 
the girl he asked had always waited on me. So 
she told him my name. 

"Now, this is the funny part, I never had 
been really movie-struck. I had planned to be 
a dancer. I used to dance in lots of the local 
entertainments. But the girl thought of me 
because there was a poster with my name on it 
hanging in the drug store. The poster was ad- 
vertising an entertainment to be given by the 
Kiwanis. 

"Just as they were talking, I came into the 
store with a bunch of the girls. The drug store 
had a tea room in the back and a lot of us used 
to go in every afternoon after school for a soda. 
So the girl pointed me out to Captain Wing and 
he came over and asked me, straight off, if I 
wanted to play the leading part in a movie. 

"Well, naturally I thought it was some kind 



of game and I just laughed and started to walk 
away. But the man kept talking ver>^ fast and 
begging me, until I began to think he was 
crazy. I told him flat that it was all a lot of 
nonsense and made another start for the tea 
room. 

"Then he grabbed me by the shoulder and 
that made me mad. 

"So I pushed his hand away and went back 
■ndth my friends. 

"When I told the girls about it, they all 
began to laugh and kid me and called me a 
'mo\ae queen.' Poor Captain Wing! None of 
us believed that he was a real movie man. 

" A FTER the soda, I went home. Mother 
-**-wasn't there. I was going to a party that 
night and I started to take a bath. Every time 
I got into the tub, the telephone rang. So 
when I finally finished and was almost dressed, 
I was pretty mad when the door-bell began to 
ring. It was a chauffeur with a note written on 
a card. A man was asking me if he couldn't 
see me that night at eight o'clock on business. 
It's funny, but it never occurred to me that the 
call might have something to do with the man 
I had met in the drug store. I thought it was 
something about dancing at the entertain- 
ment, so I told the chauffeur to tell the man to 
come around, as mother would be home by that 
time. 

"Eight o'clock came and so did Captain 
Wing. And he started the talk about the 
movies again and he argued and argued and 
argued. 

"At ten o'clock, I definitely said *No.' At 
half-past ten, I said 'Yes.' At five o'clock 
the next morning, I was on the train and 
headed for the Carolina mountains. 

"It was like this: I had been working pretty 
hard at school on the April examinations and 
mother and I figured out that a rest would do 
me good. We never thought I would get the 
part. We thought that I would go to the 



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Photoplay Magazine — Advertising Section 



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mountains, take a few tests, be refused the 
part and sent home. 

"The night I decided to go into the movies, 
I was going to a party with a boy friend. He 
was to call for mc at my sister's house, across 
the street. I forgot all about it and the boy is 
still mad at me." 

Helen Mundy went to the mountains for her 
free vacation and she stayed there over five 
months. Her tests were taken, submitted to 
New York and accepted. The company 
worked all summer in the hills; an ideal hfe of 
fishing, riding and swimming. The scenes 
were filmed without make-up and without 
lights. 

When the finished picture was sent to New 
York, Jesse Lasky wired for Helen Mundy to 
report immediately at the studio to sign a con- 
tract. Miss ilundy came and the contract 
was presented to her, figuratively at least, on a 
silver platter. 

As Miss Mundy is only si.xteen years old, it 
was necessary to get her mother's signature on 
thedocument. Soback toKnoxvilleshe went. 

"Of course," I commented, when Helen 
reached this part of her story, ''you were very 
proud, returning in triumph to the home 
town." 

But, quite unexpectedly, Miss ilundy's 
eyes filled with tears — sudden, hot tears. 

"I had been going with a boy — the only boy 
I ever really cared anything about. When I 
went back to Knoxviile, we had a date for 
every night in the week. On Saturday night 



he was killed. His roadster turned over and 
crushed him to death. 

"The next morning the papers had the story 
of his death and the story of my signing the 
contract^ — on the same page." 

Success is like that; it usually demands 
swift and unexpected payment for its gifts. 

As for Xew York, Miss Mundy likes it not at 
all. So she lives in Jackson Heights where one 
may keep a cat and see a few green, growing 
things. For in the midst of all her wonderful 
luck, Miss Mundy is experiencing the pangs of 
homesickness and loneliness. A black cat, 
brought up from Knoxviile, is her mascot and 
friend. On account of the kitten, Miss Mundy 
was refused permanent residence in three large 
New York hotels. 

At the studio, Miss Mundy has found 
Richard Dix, Florence Vidor and Ricardo 
Cortez the most sympathetic and friendly. 
As for her own hopes for the future, she knows 
quite definitely what she wants. 

"I want," Rliss Mundy says, "to be a char- 
acter actress. It is no use trying to pretend 
that I am beautiful. I am not and I couldn't 
hope to compete with the pretty girls. .Any- 
way, the 'pretty, pretty' parts are tiresome 
and the public gets tired of the actresses who 
play them all the time. 

So I want to play character parts, small 
ones at first, of course." 

And with this sane philosophy, plus a black 
cat, plus a five-year contract. Miss Mundy's 
future ought to be a safe gamble. 



Romance and a Hard^Boiled Shirt 



S.'nd for Free botik NOW, 



DOROTHY RAV, Sui:e 41, 646 N. Michigan Ave.. Chicago 



[ CONTINUED FROM PAGE 43 ] 



and a lot more stuff like that, but I knew what 
really thrilled them was the sneakin' up. If 
Romeo Jlontague had called on Miss Capulet 
— those were the program names and I'm not 
guaranteeing 'em — in the regular way with 
his cutout wide open nobody would have paid 
any attention to him and the show would have 
been a flop. 

When I was a right young feller workin' on 
a ranch, romance always appealed to me a 
heap. T once read a piece of poetry in a book 
about a young western feller named Lochin\ar 
that I thought was the best of the brand. It 
seems this young feller lived somewhere down 
on the border and liked a girl whose father 



wasn't hankerin' none after him as a member of 
his family. So young Lock just rode up to 
the house one day and grabbed her off with- 
out waitin' for no permission. I used to picture 
him ridin' up past the corral, jumpin' the 
picket fence around the ranch house, callin' 
the girl out on the porch, settin' her up behind 
him and goin' down that trail so fast that her 
father couldn't catch him noway. I always 
strung along with that young feller because I 
was sort o' bent that way myself and beside 
the book said he come out of the west, same as 
me, and I was grateful he made a good getaway. 
For years this young Lochinvar feller was 
my idea of a real romantic gent. I don't mind 




A home-made Topsy. Otherwise 

Betty Bronson in a scene, with 

Henry Walthall, from ' 'Every- 

body's Acting''' 



Betty simply refuses to look pretty. 
Here's another one of her trick 
get-ups in Marshall Neilan's 

comedy 



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addin', confidential-like, that I used to 
picture myself doin' the same thing with a 
certain young woman who lived on an Okla- 
homa ranch 'bout half an hour from where I 
was workin'. But nothin' serious come of it 
because I found out her father wasn't the ob- 
jectin' kind and would have staked almost 
anybody to a getaway horse if he'd take the 
girl along and promise to feed her. 

But my trip to England sure robbed me of 
my Lochinvar illusion. They took me to see 
If famous paintin' by a feller named Ben West 
which sh<^wed Lock ridin' off with his girl. In 
the first place I didn't like his ridin' clothes 
and if what I saw was a fair picture of the 
horse he rode, he couldn't have got away from 
a good burro. The poem allowed as how "in 
all the wide border his steed was the best" and 
if that was true it was a rotten horse country. 

If I had been ridJn' my horse Tony with the 
girl, and the old man chasin' mehad beensettin' 
on the horse Lock had in that picture, he'd 
have arrived about in time for the first 
christenin'. 

At Christmas time down on the ranch, we 
boys got more kick out of givin' our gal a 
celluloid hand lookin' glass in a velvet case, 
that they held us up four-fifty for, than any 
rich man ever got out of presentin' his better 
half with a fiity thousand dollar string of 
pearls. I know, for I'm one of the birds has 
played both ends of the string and is willin' 
to admit it. 

The 6rst present I ever give Mrs. Mix cost 
less than twenty dollars — how much less I 
hope she'll never know. What Mrs. MLx's 
last present cost only me an' the bank clerk 
and the jeweler will ever find out. But she 
liked it and that made it cheap at any price. 
But she still keeps the little manicure set 
with the mother of pearl handles in the red 
plush box on her dressing table along side of 
the French enameled gold toilet outfit I 
grabbed off for her in Paris. Say. one of them 
Uttle knives you use to fix your linger nails with 
in that French set costs twenty times as much 
as the whole manicure set. But between you 
and me, I get more kick when I notice that 
when Mrs. Mix is packing her jewelry to put 
it in the safe deposit box while we're away 
she alwaj-s puts in the red plush box with the 
manicure set in it first, than out of anything I 
know. The day she puts her diamond dog 
collar in first I'll know romance is dead. 

TXTHEN I first come to Los Angeles and 
** worked in pictures as a cowboy for five 
dollars a day, I used to buy my clothes on Main 
Street. Right here I want to admit I always had 
a weakness for nice clothes. An' I reckon the 
Indian in me come out pretty strong when it 
came to selectin' color schemes. As a cowboy, 
I remember I always had the reddest shirt 
and the greenest and yellowest handkerchief 
on the ranch. Down in Ponca, Oklahoma, a 
man named Isidore Einstein operated the New 
York Dry Goods and Clothing Emporium, 
and he used to say he'd never get stuck with a 
suit of clothes because it was too loud as long 
as Tom Mix was around. He sure said the 
truth. What's more, I was always ready to 
tr>^ to lick any guy that didn't agree with my 
taste in such sartorial matters. Well, a little 
maturity has toned, me down some, but I got 



to admit I've still got a hankcrin' after plaid 
suits. 

I used to go window shoppin' on Main street 
in Los Angeles before I finally bought me a 
suit. Savin' money for me was considerable 
effort. I know a lot of boys that sported while 
jackets and aprons that weren't barbers. Any- 
way, after rcsistin' temptation to spend my 
money on other pleasures, and after pickin' 
me out the right raiment, I'd take it home 
and try it on in front of a two-foot square 
mirror, and then I'd canter out in the firm 
belief that Solomon and I was rivals and I had 
him licked. 

Xow I get my clothes made in London and 
New York and by gosh there's no use denj'in' 
it, I don't get half the thrill out of them. 

I want to tell you about the first time I 
arrayed myself in what was then known as a 
full dress suit. I had rented it from Wolf and 
Bean. I was takin' a young female out to the 
Oriental cafe on Main street, which was sup- 
posed to carry class to spare. 

The only taxis Los Angeles could sport in 
them days were Ford sedans. I rented me one 
as near the gal's house as I could find it. hopin' 
by that diplomatic procedure to cut down the 
bill because I wasn't holdin' none too strong. 
and pretty soon me and the gal rolled up in 
state. 

Since then I've been driven up to some of 
the most exclusi\'e eatin' joints on this conti- 
nent and Europe and in cars that'd stack up 
even with the taxi and the cafe thrown in, 
but they never succeeded in givin' me no such 
thrill. Say, even the girl — and you know when 
women are mixed up in anything it never 
comes out accordin' to Hoyle — though she's 
been around a lot since, still says that supper 
at the Oriental cafe was the great event of her 
life. 

Anyway, she went in there free and un- 
attached, but when she come out I sure had 
my brand on her for fair and we got married 
not very long afterwards. 

"JSjOW Mrs. Mix plays bridge and we've a 
•^^ butler, butthere'sacertain night in the year 
when we leave our string of cars feedin' in their 
stalls and rent us a Ford Sedan. We always 
drive down Main street and look at the buildin' 
that used to house the Oriental cafe. It's the 
least expensive evening we spend in the whole 
year, but it's the one we enjoy the most. 

That's what I am aimin' at when I mentions 
previous about keepin' romance. You can't 
buy romance. But if you use a little inge- 
nuity and don't get too hard-boiled, you can 
keep it sproutin' quite a while, as I've proved. 

Personally, I got the idea that most folks 
consider it a heap wrong and indecent to ad- 
mit to enthusiasms and enjoyments. They re- 
gard a poker-face as the proper expression 
with which to face life, and I'm not arguin' 
that they're wrong. 

But for myself, I'm for romance and a lot 
of excitement and I hope I won't quit gettin' 
a kick out of anythin' and everythin' until I'm 
through kickin' altogether. I'd rather be all 
dead than half dead myself. 

It's harder to find romance in a hard-boiled 
shirt than a flannel one. I tells you that 
straight and honest, but it can be done — if 
you get a little cooperation. 



Can a Genius Be a Husband? 



[ CONTINUED FROM PAGE 3 1 ] 



films, the great comedian whose art alone has 
won certain great critics to include the motion 
picture among the arts at all. 

I don't know exactly what is back of the 
present split between Charlie and his girl-wife, 
but I am convinced that whatever the par- 
ticular trouble is, the real trouble lies in 
those tremendous difficulties that always beset 
the marriage of genius. 



Which brings us face to face in the flesh 
with some of the most interesting psychologi- 
cal questions in the world. 

Should a genius marry? 

What is it like to be the wife of a genius? 

More specifically in this case, what has it 
been like to be the wife of the greatest come- 
dian in the world? 

As far as I know, Lita Gray Chaplin has 




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never told anyone. She is very, very young 
and neither very analytical nor very articulate. 

Hut it is possible just the same to get an 
awfully dear picture of the thing and to feel 
somehow a great throb of sympathy for them 
both, the little girl-wife and the great genius. 

An}' marriage is a great and dangerous ad- 
venture to a girl in her teens. 

Marriage to Charlie Chaplin would, there- 
fore, be a thousand and one adventures. 

For to be married to Charlie Chaplin must 
mean living with all the known or imagined 
eccentricities of genius since the world began. 
Nobody who knows Charlie Chaplin can doubt 
that. 

The strange aloneness that always marks 
genius exists to the nlh degree in Chaplin. His 
soul stands off from his fellow man, wistfully, 
a little sadly. Vou see it in his eyes in the 
midst of a crowd. You see it in the amazing 
mixture of egotism and humility in his con- 
versation. He can ne\xT tmd the happy me- 
dium, that common ground upon which exists 
the normal. 

It must be an awful thing to live with a per- 
son whose soul you can never touch, either in 
its joys or its sorrows. It must give you an 
unbearable sense of strangeness and loneli- 
ness, like living in a solitary house without 
clock or calendar. 

Somehow, I have a picture of Lita Chaplin 
watching her husband with those great, dark 
eyes, her young throat tight with tears. 

No marriage can be a real success without 
some spiritual union. 

CPIRITUAL union with a genius like 
^Chaplin is almost impossible. The super- 
sensitiveness, the introspection, the nervous 
suspense, the colossal selfishness of all creative 
genius makes it a task only a superwoman.Iit 
by the fires of a great passion, could accomplish. 

Still, some marriages do manage to get by 
without being a huge success — that is, mar- 
riage manages to be a pleasant and convenient 
thing, without achieving great heights. 

I think evervbody has hoped very deeply 
that the Chaplin marriage would thus survive. 

Two things will make that diflicult in the 
case of the Charlie Chaplins. 

One is that Charlie is the most supreme indi- 
vidualist I have ever come in contact with. 

Douglas Fairbanks and Mary Pickford, for 
instance, have made a beautiful thing of their 
marriage by the great modern commandment 



of 50-50. They are comrades, equals, gi\'ing 
and taking, exchanging, sharing. But neitlier 
one of them is a genius. 

Charlie Chaplin, like every man endowed 
with that glorious and spontaneous ability to 
give out the new and fresh and unexpected, 
wants QQ-oi*^,,' all the time. 

And just here, lest you misunderstand 
Charlie's side of this tragedy — for any broken 
marriage where there are children is a tragedy 
— let me explain just a little of what Charlie 
Chaplin means to the motion picture. 

To the public, he is just the great comedian, 
who makes them laugh and weep. 

To those of us working to make motion 
pictures, he is the way-shower, the trail- 
blazer. He is the master. .Almost every new 
step in motion picture technique, every ad- 
vance step in motion picture art, has come 
from Charlie Chaplin. He is the creator of 
the new forms, the new ideas. To the great- 
est directors and the greatest stars his pictures 
are like a text-book. I know directors, for 
instance, whose names stand at the very head 
of the list, who went ten and twelve times to 
see "The Gold Rush." And, when I asked 
them why, they explained that it was the 
greatest example of perfect motion picture 
timing ever seen, and that it opened new fields 
in that direction just as "The \Voman of Paris" 
opened new dramatic and directorial fields. 

His mind, therefore, is like a giant sponge, 
taking in everything, sucking up every idea, 
suggestion, emotion. And nothing stops him. 
Nothing. 

For instance. I have known Charlie to do 
things like this. He has a friend — a young 
man of decided artistic talents — who lives in a 
funny house on a hillside, with a lovely bal- 
cony everlooking the whole of Los Angeles, 
from the mountains to the sea. The young 
man is a good listener, he has original ideas. 
Charlie will go to visit him and they will 
settle in the wicker chairs on the balcony and 
sit there — literally — for three days. A little 
Jap boy who understands these matters will 
bring them food and drink on a tray whenever 
it occurs to hull. They will go off to sleep in 
their chairs — and awake to continue the idea 
where they left off. 

LITTLE Mrs. Chaplin will sit at home, 
perhaps, watching the clock, listening to the 
sounds outside, just like any other wife. 
Charlie has forgotten her. He has forgotten 




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Grey Chaplin. Master Charles Spencer Chaplin is shown with his baby 

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himself. He can't help it. The tremendous 
siiicerity of the man in pursuit of his ideas 
makes you forj^jive him. 

Charlie is just as reliable, in big things and 
Httlc things alike, as a young hurricane. Time 
does not exist, so far as he is concerned. Nor 
do people, in the ordinary sense. 

Yet when he finds a human brain that has 
something to give, or a human character that 
is new and worth studying, he grabs it like an 
octopus. 

■ He may bring home a tramp, a great 
psychiatrist, a colored washwoman, an 
i'^nglish duchess, and spend hour upon hour 
talking with them. 

His moods are mad, terrific, uncontrollable. 
Sometimes he is gay as a diamond, he will 
hold everyone spellbound for hours with his 
wit, his mimicry, his delicate and ever-fresh 
clowning. 

At other times he will be almost in tears 
with nerves and depression, unable to say a 
word, trembling with strange apprehensions, 
his face a mask of tragedy. 

All this a woman can understand and for- 
give, if she is big enough- And there is so 
infinitely much of the maternal in Lita Chap- 
lin that I think she has the understanding 
heart. 

But that isn't enough. 

A woman married to a genius must be wise 
enough never to let him know he has been for- 
given. She must be clever enough not to bore 
him with her sweetness, and yet not to annoy 
him with reproach. She must be an indi- 
vidual and still be only 00.99% of a marriage, 
She must have chann. but never intrude it 
and she must be a lightning change artist in 
moods to follow his. 

And then it won't be enough. 

Did Lita Grey ever have a chance — has she 
still a chance — to make a success of her mar- 
riage to Charlie Chaplin? 

Let us consider this Lita Grey Chaplin, who 
has tried, like the Empress Josephine, to be 
the wife of a genius. 

In the first place, she is still— after three 
years of marriage and two experiences of 
motherhood — at the age when most girls are 
being graduated from high school. 

She is a slim, dark beauty. For she is a 
beauty. She has now the perfect and arresting 
loveliness of a rosebud. Her eyes are enor- 
mous and dark as a blackbird's wing in her white 
face, and her dark curls cluster close about her 
perfect head. Her mouth is almost heart- 
shaped and she has slim legs, like a gazelle's. 

Everyone likes her, and feels a little sorry for 
her. . She is gentle and sweet, she is a nice 
little thing, quite interesting to talk to. She 
dresses with exquisite taste. I think she 
would have made a marvelous wife for almost 
any man, for she instincti\ely desires to please 
and there is much about her that is pleasing. 
Her nature is happy and placid and kindly. 
Her disposition is obviously domestic and 
maternal. 

If she does succeed in averting this threat- 
ened break, it will be because shehasdeveloped. 
through suffering and motherhood, to the 
selilessness necessary to the wife of a genius. 

At first, domesticity appealed to Charlie 
Chaplin. It was a new role. It soothed his 
heart, worn and frayed by intense and fre- 
quent emotional upheavals. 

But as an ordinary man loves life, so a genius 
loves many lives. 

npHE wife of a genius must either be great 
■■- enough to supply all these herself — and 
the woman who can do that is rarer than a 



mermaid — or she must be willing to sit at 
home and keep the fire burning and the chil- 
dren fed, until her husband returns. 

Return he will. I believe that Charlie 
Chaplin loves Lita, his wife, as much as he 
could love any wife. I believe he means to be 
kind to her, and I know that he loves his 
children. 

But that is not and can never be enough for 
him. He must be free — free to allow those 
impulses that bring created art into the world. 

If Lita Chaplin can leave him free, if she 
cares enough to leave him free and to realize 
that she is playing a great part in great things 
by doing it, the marriage may still come 
through. 

Tom Mix once made a profound remark to 
me. Tom is a profound thinker. 

He said, "There are many things a w'oman 
may be to a man. some of them good, some 
bad. But there is only one thing she must 
be to him. if their lo^■e is to be successful — 
and that is an inspiration." 

If Lita Chaplin can grow to the measure of 
that — but I do not know whether one woman 
could e\'er inspire Chaplin. His sense of the 
dramatic is so intense that he must ha\'e an 
entirely new phase of womanhood to inspire 
each new phase of his work. He is like 
Napoleon in that. 

THE greatest marriage of genius of which I 
know was that of Robert Browning and 
Elizabeth Barrett Browning. Personally, I 
am not yet convinced that Browning was a 
genius, but certainly Mrs. Browning was, for 
she wrote poems of a beauty surpassed only by 
Keats himself. 

And to me she put into words the sort of love 
that must exist to make marriage to a genius 
a success, the sort of Xovt without which no 
genius should ever marry. 

"How do I love thee? Let me count the ways. 
I love thee to the depth and breadth and 

height 
My soul can reach, when feeling out of sight 
For the ends of Being and ideal Grace. 
I love thee to the level of everj^day's 
Most quiet need, by sun and candlelight. 
I love thee freely, as men strive for Right; 
I love thee purely, as they turn from Praise. 
I love thee with the passion put to use 
In my old griefs, and with my childhood's 

faith. 
I love thee with a love I seemed to lose 
With my lost saints — I love thee with the 

breath, 
Smiles, tears, of all my life I — and if God 

choose, 
I shall but love thee better after death." 

That's the onl}- kind of love that can sur- 
mount the tremendous temperamentalobstacles 
a woman encounters when she marries a 
genius. And it is the love of a superwoman, it 
is the divine fire that strikes, but too seldom 
into mortal clay. 

If Lita Grey Chaplin is inspired with such 
a love, she may win through, and refine and 
inspire and increase the Chaplin genius. If 
she is such a superwoman as Elizabeth Barrett 
Browning was, she may be the thousand 
women in one woman, or the saint-and-mother 
woman, who alone can make a success of 
marriage to a genius. 

Otherwise, this separation will be perma- 
nent, for the genius who burns up his whole 
heart and soul and mind in his work has noth- 
ing to give to help make a marriage a success. 
That must all be done by the woman. 



The Girl Who Is Getting the Breaks 



[ CONTIXUED FROM PAGE 63 ] 



comedy leads with a small company, but 
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Photoplay M.\g.\zixe — Advertising Section 



oi/rtnance 

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B^ t^e man betind the ■'amera in the hlz photopUy 
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the film was released, Janet stood out of it 
as a balmy day stantk out of the month 
of February'- She followed that with "The 
S h a mr ock Handicap" and "The Midnight 
Kiss," inconsequential films both of them, 
in which she was perfectly delightful. That 
is the sum total of her experience up to 
"Peter Grimm." 

She came to take me for lunch one day in 
Holljn^ood, a slim little girl in a plain little 
sweater and skirt. She might have been any 
little girl in any little town in America. Not a 
little city girl, by any means, but one of those 
gazelle-eyed small tot\'n girls who can create so 
much havoc in anj- gord frat house. She has a 
Httle freckled face and a snub nose. Her eyes 
are ver>* bright and rather wise and her hair is 
red and curly. She is just five feet tall and 
properly thin. She is rather gamin, but looking 
at her. the last thing in the world you can con- 
ceive of her being is an emotional actress. 



Fay Wray? She and Fay had started about 
the same time and more or less kept step. 

The cake was quite exhausted. Had I seen 
OUve Borden? Lucky Olive, beautiful and 
full of personahty. It must be awfully nice to 
be like Olive. Should we go to a movie? She 
loved going to moWes. 

We went, stopping on the waj' to purchase 
some candy. We kept the bag on our laps and 
munched throughout the feature. Janet didn't 
think much of the picture and neither did I. 
Then I walked back to the little white house 
where she lives with her people and where 
supper was nearly ready, and as I saw her go 
hopping up the steps I simply couldn't beUcve 
that kid was an emotional actress. 

That night John Roche and Elizabeth Pat- 
terson, distinguished troupers both of them, 
with long experience on the Broadway speaking 
stage, rang me up and asked me if I would go to 
the pre-\'iew of ''Peter Grimm" with them. 



Identification of Pictures on Pages 6 o and 6 1 

1. Mrs. Daniels' only child — Bebe — at the charming age of 
seven years. 

2. Mrs. Hersholt's little boy — Jean — at the solemn age of four. 

3. Mrs. Purviance's Edna, posed by a photographer out in 
Lovelocks, Nevada. 

4. That pretty little Compson girl — Betty. Seven years old, 
but already taking violin lessons. 

5. Mrs. Ray's handsome baby — little Charlie. And the pride 
of the home.' 

6. Little Blanche Alex-\n*der, who changed her name to 
Sweet when she went into those funny movies. 

7. Young Ola Cronk of Cawker, Kansas. She is now Claire 
W"iNDsoR, you know. 

8. Mrs. La Plante's daughter — Laura. A serious child and 
no trouble to anybody. 

9. House Peters at the age of nine — a victim of bad direction 
and overdressing. 

10. Mrs. Joyce's daughter, Alice, always did know how to 
\\ ear clothes. 

1 1. Mrs. Boardman's Eleanor — and the smartest child in the 
Philadelphia schools. 

12. And Mrs. Barthelmess* boy, Rich.\rd. Just the model boy 
of the neighborhood. 



The restaurant, on top a Hollj-wood hill, was 
quiet and cool. It used to be a religious center. 
Tanet played with her salad and tried hard not 
to wiggle. It was, she said, her ver>- first inter- 
view. Xot that she had a theor\- about life or 
art or anj'thing. ilumau wanted her to bleach 
her hair for "Sunrise." He wouldn't hear of 
her wearing a wig. He wanted her to be one of 
those pale, peasant girls, and her freckles were 
to show. But she had been at the hairdresser's 
three solid days. Ever\'thing had been on her 
hair from ammonia to white henna, and it 
.simply wouldn't take, that's all. She pulled a 
crinkly little end of it from beneath her hat to 
show me. 

Wonderful, though, her playing for Mumau. 
He didn't direct you. Just talked, quietly. It 
was a wonderful chance. Would I think it 
terrible if for dessert she ate a piece of cake? 

We both had a piece of cake. Had I seen 



I went along and saw Janet. I can not e.\- 

plain it. She was wonderful. Her work in 
that tense, emotional, difficult role could not 
have been bettered. "Isn't she amajiing?" 
whispered John Roche. "She's absolutely 
right in ever>' gesture, ever>' movement." 

"The technique it has taken us years to 
learn," sighed Elizabeth Patterson, "that 
child knows by instinct. She doesn't need di- 
rection. She simply is an actress." 

We sat, tears in our eyes, and watched the 
final fade-out. We were silent for several 
minutes. 

"I think the best thing I can do," said 
Elizabeth, "is to go back to Broadway. That 
marvelous child." 

Two years in the business. She is getting the 
breaks and gaining the experience. I am 
wondering a great deal about Janet Gaynor's 
future. 



Ert-nr adrertisemcnt in PnoTOPLAT MAG.VZIXE is guaranteed. 



Photoplay Magazine — Advertising Section 



119 



Snatched from Slapstick 



[ CONTINXJED FROM PACE 58 ] 



chin, re4iving the moment. "But I knew it 
wa^ right for me to have that part. 

"Mr. Von Stroheim's othcc has two rooms, 
maybe you know?" The two tapering brows 
were lost in query under the jaunty brim of the 
red hat. "Two rooms, rather dark. Mrs- 
Schley went with me. She is the woman who 
was responsible for the intcr\-iew. 

" He sat in one of the rooms. In a corner sat 
his secretary. He didn't talk to me at all, but I 
knew he was looking at me. He talked to Mrs. 
Schley, and I sat there, in that semi-darkness. 
Presently he said, looking at last at me: 

" * Are you sure 3'ou can do it? ' 

" *I know I can.' And I did. 

"Then Von Stroheim swung about in his 
swivel chair. 

" *'Whom does she look like to you, Mrs. 
WesUand?' he asked. 

" 'Mitzi,* answered his secretar>'. Xot a 
word more. That was all. 

"It seemed that the darkness grew heavier. 
Not a word was spoken. Von Stroheim arose 
and approached me. He put his hand over 
mine: 
' " * Good-bye, MitziP " 

Fay's eyes grew misty under that audacious 
red hat. It became a hateful, taunting thing — 
that crimson bonnet. Her hand, the restless 
one, clenched the passive left for a moment and 
she continued: 

"I cried. I couldn't help it. That part was 
right for me. I knew I would get it. But when 
Mr. Von Stroheim said 'Good-bye, Mitzi/ it 
was just too much. 

"Mrs. Schley cried. Mrs. Westland cried. 
Tears came to Rlr. Von Stroheim's eyes. They 
left me and I sat in that dark little room and 
cried until it seemed I could cr>' no more." 

And Fay smoothed the ga\' little black-and- 
white checked skirt so it completely covered 
the gold and pale green of the period chair that 
had been made for Gloria Swanson's dressing 
room. The voluptuous sleekness of the black 
satinchaiselong\ie,that had also been made for 
Gloria, sprawled before her eyes. Something 
of the spirit of Gloria seemed to pervade the 
tiny mauve-paneled interview room. 



It might have been reflected in the almond- 
shaped, but not oriental, eyes of Fay, strangely 
hke, and yet unlike. Gloria's. In the parted 
ros>' lips. In the delicately arrogant set of her 
head upon her slim young shoulders. 

Certainly the spirit of Gloria insinuated it- 
self into Fay's remark: 

"It is great ... it is grief ... it is mar- 
velous!" 

Not only the spirit of Gloria, but the spirit 
of every motion picture actress who has found 
herself at the top of the film heap was in those 
naively spoken words. It is great — the joy, 
pride and happiness; and it isgrief — thesorrow, 
misgivings, heartaches. But it is marvelous, if 
you can forget the greatness and the grief. 

"I waited two months without hearing a 
word from Jlr. Von Stroheim. I knew he 
wouldn't forget. I made a Western. My heart 
wasn't in the role. Then came my first scene 
in "The Wedding March.' I was so happy. 
Happy, you know, to think that I really had 
the part. It was the courtyard sequence. Ev- 
erything was pink apple blossoms. 

"Mr. Von Stroheim okayed the very first 
shot without a retake. I was so happy I 
didn't notice it. The cameraman came over to 
me: 

" 'Say, do you know how lucky you are?' 
he asked. 'Von has okayed your first scene.' 
I didn't know, then. I was too happy to 
understand. And Harrj- Carr nodded his head 
in approval. 

"It seemed quite natural, quite right that 
he should. But I didn't understand it then, 
like I would now." 

The red hat was again a flagrant thing. A 
crimson crepe over a saddened oval face. Fay 
knew greatness and grief. But in the distance 
was this mar\elous thing of fame, which to a 
girl not long graduated from the Hollywood 
High School is the most priceless thing on 
earth. 

Then came a smile that made her look ver>-. 
very young, and with the slightest sigh, Fa}- 
remarked : 

"Do you like the new shade of red they are 
wearing this winter?"' 



Here Are the Winners 



[ CONTINUED FROM PAGE 35 I 



extent, and the prestige of Photoplay's cir- 
culation. To those who did not win, Photo- 
play says, " Come in on our next contest, and 
better luck to you." 

To the winners, Photoplay extends heart- 
iest congratulations. 

ADDITIONAL PRIZE WINNERS 

[CONTINOED PKOM PAGE 33] 

Fifty Dollar Prizes 

Grethe Arboe 

307 W. Park Street, Portland. Oregon 

(Old Fashioned Movie Theater) 

Helen Ashford 

Watkinsvillc, Oconee Co.. Georgia 

(Card Table of Stellar Heads) 

Mrs. .Adelard Barreault 

5 Gladling Place. Fall River. Mass. 

(Door Stop Doll of Orchid) 

Mrs. Jack Bennett 

307 Hill Crest Avenue, ^lacon, Ga. 

(A Star Studded Chair) 

Mrs. B. H. Bowe 

304 East 53rd Street, Portland. Oregon 

(Hat Box Star Head Cut Out) 

Mildred A. Bradley 

207 Rochambeau Avenue, Pro\'idence, R. I. 

(Painted Peacock Shawl) 



Philip Costello 
^/o S. H. Goldiner, 401 Pemberton Street, 

Boston, Mass. 

(Book Stand with Books of Each Star's Life) 

Ruth Curry 

23 N. Thorp Street, Kansas City, Kansas 

(Peacock in Frame) 

Arthur H. Garst 

47 Waterman Street. Providence. R. I. 

(Basket of Blue and Orange Paper Flowers) 

Shirley Gleason 

1 201 37th Street, Galveston, Texas 

(Hand Painted Butterfly with Gold Wings) 

Mary Harmon 

526 WiUiam Street, Red Wing, ilinn. 

(Hand Painted Shawl) 

Ida Hoepold 

65 Cumerford Street. Providence, R. I. 

(Gray Painted Serving Tray) 

Katherine Johnson 

57 James Street, Maiden, Mass. 

(Ghl and Boy Dolls Yellow Satin) 

Miss Helen Jostes 

4926 Moflitt Place. St. Louis. Mo. 

(Black Hand Embroidered Screen) 

MrcH,\EL Kajipel 

2920 Madison .Avenue, Cincinnati. Ohio 

(Glass Wind Chimes for Porch) 



What $1.25 

Win Bring You 



More than a thousand pictures 
of photoplayers and illustrations 
of their work and pastime. 

Scoresof interesting articles about 
the people you see on the screen. 

Splendidly written short stories, 
some of which you wiU see acted 
at your moving picture theater. 

The irulh and nothing but the 
truth, about motion pictures, the 
stars, and the industry. 

You have read this issue of 
Photoplay, so there is no neces- 
sity for telling you that it is one 
of the most superbly illustrated, 
the best written and most 
attractively printed magazines 
published today — and alone 
in its field of motion pictures. 

Send a money order or check 
for $1.25 addressed to 

Photoplay Magazine 

Department 7-A 

750 N. Michigan Ave., CHICAGO 

and receive the next issue and 
five issues thereafter. 



PHOTOPLAY MAGAZINE 

Department 7-A 
750 N. Michigan Ave^ CHICAGO 

Gentlemeti: I enclose herewith $1.25 (Can- 
ada $1.50; Foreign $1 75). for which you will 
kindly enter my subscription for Photoplay 
Magazine for six months, efifective with the 
next issue. 

Send to 





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Wbaa you write to advertisers please mention PHOTOPLAY ifAQAZINE, 



1 20 



Photoplay j\L\gazixe— Advertising Section 



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XoRii.\x Low 

'^/o Edward Low, Hox 141^, Boise, Idaho 

(Diamond Studded Clock) 

.\. H. LUEBKE 

679 Market Street, Milwaukee, Wis. 

(.\ Set of Star .Ash Trays) 

Mrs. Eliz.^beth Plummee 

li;S Felicity Street, Xew Orleans, La. 

(\ Set of Gold Frames) 

Mox.^ Spoor 

522 West i6:st Street, Xew York City 

(Satin Banner with Hand Painted Faces) 

Le Roy ^\'ESTLVXD 

517 Iglchardt .Avenue, St. Paul. Minn. 

(Pine Cone Hut of Starsi 

Twenty-Five Dollar Prizes 

MlX.\ S. B.\HLM.4.V 

449 Layton Boulevard, Milwaukee, Wis. 
(Stars from Shadow-Land Cut Out Book) 

Mrs. George W. Bush 

326 West Emerson Street, Paragould, .Ark. 

(Silver Float of Pink and White) 

M.^RV R. COMPTON 

1257 Echo .Avenue, Fresno, Calif. 
(Old Fashioned Bouquet of Blue and Pink) 

M.AtJD CONST.WCER 

2031 South 34th Street, Lincoln, Xeb. 

(.Album) 

Helen B. D.^ms 

5S23 Chalstian Street, Philadelphia, Pa. 

(.Album) 

Mrs. Florence M. Doyle 

840 Wetherslield .Avenue. Hartford, Conn. 

(.Ark of Fame, \\Tiite Cloth, Blue Stitched) 

FR.iNCES L. Dyer 

620 JIajestic Bldg., Denver, Colo. 

(Indian Pocketbook) 

ilRS. jAilES Edw.\rds 

755 X. Mamassass -Avenue, Memphis. Tenn. 

(Photoplay Bell-Hop with Tray of Stars) 

J. X.WTER ESC.^HNTE 

241 West 54th Street, Los .Angeles. C.-ilif. 
(Model of Los .Angeles .Ambassador Hotel) 

P.4UL X. Ev.\xs 

2501 Oakridge Road, Fort Wavne, Indiana 

(.Album) 



.Arthlr J. Farmer 

536 Rush Street. Chicago, Dl. 

(Fountain of Fame) 

Mrs. S. F.^rrell 

Rej-nolds Apartments, EUinsburv, Wash. 

(Wa\ Pastel Tinted Pond Lilies) 

Miss M.^rion M. Gr.\ngee 

1330 L. Street, X. W., Washington, D. C. 

(Roses Growing Over the Garden Wall) 

Mrs. Frederick C. H.ViiiLTOx 

5 Washington Park, Box 365, Oxford, 

Chenango Co., X. Y. 

(Painter's Plaque) 

Helen L. Hodge 

7905 Chicago .Avenue, Silver Spring, 

Marv'land 

(Wind Mill) 

Frederick Wm. Kien.i 

233 Clove Road, West Brighton, Staten Island, 

X. Y. 

(Book of Pink Stars) 

ISADORE if. KlOSTERM,\N 

S^z W. Locust Street. Davenport, la. 

(.Album) 

W. .A. Lawxess 

432 Jlonroe Street, Topeka, Kansas 

(Picture Gallerv-) 

Mrs. Edward M'ett 

334 \ista -Avenue, Wauwatosa, Wis. 

(Half Moon Lamp of Pink Georgette) 

Eesie .a. Meyer 

2S02 Bellevue .Avenue, .Augusta, Ga. 

(Butcher's Book .Album) 

Emil Paulson 

604 East 41st Street, Kansas City, Mo. 

(Box of Fihn) 

Walter .A. and Wllbck .A. R-aschick 

1714 i6th Street, Superior, Wis. 

(Fan) 

Miss Leodia Sheller 

112 Xorth Union, Fostoria, Ohio 

(Cut Out Book) 

Mrs. .a. T. Swanson 

307 Indiana -Avenue, Chesterton,' Indiana 

(Yellow QuUt) 

Mrs. Phy'llis il. Swes'ton 

S15 E. 23rd Street, Paterson, X. J. 

(.A Movie Mad Raggedy .Ann Doll) 



Amazing April 



I CONTIXrXD FROM PAGE 5 1 ] 



threatening to shoot themselves. But they 
won't, because they never do! .And I'll ask 
them in and give them tea and they'll think 
better of it. And she won't get married until 
she's old — twenty-five, perhaps — because it 
will be such fun for us to watch her spend all 
your money having a marvelous time." 

Xow, in the usual course of things, .April 
grew up. .And as she grew her parents won- 
dered. 

She was a beauty. Xo doubt of that. But 
with the pale, placid, slightly vapid beauty of 
a Botticelli angel. She gave an impression of 
folded hands. -As a matter of fact her hands 
were rarely at rest, for at an early age she dis- 
covered needles and spools and became, under 
the deHghted tutoring of a fat German gover- 
ness, a very accomplished needlewoman. She 
also cooked and baked, at thirteen, an entire 
dinner, including a master loaf of bread. .And 
at sixteen she demanded the equivalent to the 
household keys and, upon receiving them, ran 
the great house and ever\' one in it with a 
quiet practicality and a really alarming econ- 
omy. 

(TherT^', who couldn't thread a needle and 
who would have starved to death if left alone 
with a range and raw material, was horrified. 

"I can't think where she gets it!" she said 
and, for the hundredth time, "How on earth 
did we produce her. Jack? '' 

Jack, who smoked less because .April said 
it wasn't good for him and who had given up 
tennis because .April had suggested that it 
wa.sn't quite dignified in a parent of his age. 



looked gay and gloomy at the same time, 
which is a very hard thing to do. 

"Did you ever have a missionary in your 
family, (Cherry-ripe?" he asked. 

"Two. -Aimts. Xice women. One got 
eaten by cannibals," answered his beauriful 
wife. 

Jack groaned a little. 

"-And I had a great imcle. Died of fever in 
China. That e.x-plains all. She's a throw- 
back." 

They were both a little relieved. .After all. 
it hadn't been their fault if you accepted that 
easy e.xplanation. 

.April did not care to dance, and men bored 
her. She went in for social service a little 
heavily, she visited the poor, she taught Sun- 
day School, and exhibited a keen mind for 
ethics and philosophy and comparauve re- 
ligions. .And she grew more lovely every day 
and even,' da.v she reformed her parents. 

She'd a perfect manner with them. She was 
deferential, she never "answered back," she 
humored them shghUy, she looked reproach 
beautifully, she left the room when the at- 
mosphere grew too light for her to breathe. 
And dearly as they loved her, it was hard on 
Jack and (Therrj'. 

Things had changed. Bridge was in, so was 
golf. The Masters played both together, with 
all the verve of twenty years. Women were 
smoking openly. Cherr\' had a hundred eccen- 
tric holders. Her clothes were French and her 
skin magnificent and carefully tended. Her 
figure stayed a figure, phant, corselless, slim- 



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121 



mer than April's own — and her hair remained 
red, u-ithout any synthetic air. She was still 
a ^'reat beauty — and still Chern,\ 

Xor had the years taken from Jack. They'd 
added, to his money and his charm, his srace 
of bearinfi, his good looks — and — day by day — 
to his love for his wife and hers for him. 

April tolerated the brid;re and the j;olf. But 
cigarot tes made her ill and Cherr>' took to bath- 
room smoking when April was about. Makeup 
the child detested and said so. And as for her 
ancient parents kissing behind doors when any 
one might come along and see them, she 
thought it silly and a little abnormal. And so, 
ia a way, the presence of a filial chaperon in 
their house added to the legal and wedded love 
of April's parents a certain spice, a piquancy. 
It seemed almost intrigue, they had to be so 
careful. It amused them to be a little brazen 
at times, Hirt outrageously with each other, 
hold hands. They knew just how it would 
affect their progeny — how she would sigh 
patiently, withdraw discreetly, close the door 
with a slight but firm bang of disgust. . . . 

"Dear thing," Cherr>' murmured, on such 
an occasion. "I wonder if she will ever fall in 
love? And if she does, will she spare us an 
understanding — and perhaps apologetic — 
thought?" 

To which Jack, irrelevantly, 

"You're the loveliest thing in the world! 
Come here at once and sit on my knee. .April 
your child? It's absurd! You aren't more 
ihan nineteen and we've been married just ten 
minutes!" 

WELL, in a way you couldn't blame April, 
with this spectacle of middle-aged turtle 
doves constantly affronting her cool young eyes. 

When April was nineteen herself, they took 
her for a winter at Palm Beach. They had a 
wonderful time — Jack and Cherrj'- did. They 
swam and golfed, wheel chaired and walked, 
they danced, mornings at the Breakers, after- 
noons in the Cocoanut Grove, they gambled 
and won, they gave luncheons and dinners at 
fireadley's and the clubs, they reveled and 
frivoled and grew younger every minute. And 
were careful to see that April met att^acti^'e 
men and charming girls. 

Only she wouldn't stay met, as it were. She 
engrossed herself in war work — for it was war- 
lime — she knitted and rolled bandages and 
spent the evenings over mufflers and stayed 
alone, at unfashionable hours, on the beach. 
She had, you know, a really rotten time. 
Cherry said that. April wouldn't. 

When they went home Jack, feeling about 
eighteen, went to war. He couldn't get over, 
but he could be useful in Washington, so he 
went there. Cherry went with him. .\pril, 
who had no unwomanly desire to drive an 
ambulance at the front, stayed at home with a 
companion and ran Red Cross chapters and 
was horribly efficient. 

Jack and Cherry enjoyed Washington. But 
they never knew just when April would run 
down for a day or two and see how things were 
progressing. Jack said he had all he could do 
to keep her out of the White House. Had she 
gotten in, the war would have been run 
differently. 

Then, suddenly, there was no more war and 
Jack and Cherry felt a Uttle flat and a little 
lonely, for they had worked hard and had made 
themselves part of it all. and so they came on 
home and found April with a suitor. 

Such a suitable suitor. Her first. You see, 
for all her clear beauty she startled men a 
little. She reformed them so soon that they 
lost interest. But Professor W'arren liked re- 
forming, as he didn't need any personally, and 
he loved April — mildly. He was a dark, thin 
young man, with a clever face and spectacles 
and his wooing was conducted with a decorous 
seriousness. 

Cherry asked him to stay with them a time, 
after discovering that April had met him in her 
work — he was Y.M.C.A. to her Red Cross — 
and so he stayed. They had the little library 
evenings to themselves and I regret to state 
that Jack and Cherry- took turns at the key- 



hole. What they heard turned them pale — 
long, ardent, passionate discussions of evolu- 
tion. Kant, biolog>-, sociology', Labor .... 

"My God I" breathed Jack, in real rever- 
ence, straightening up with a kink in his broad 
back after five minutes of this \'ulgar eaves- 
dropping. 

He repeated some of the things he had heard 
to Cherry, who stood beside him stemming 
giggles with a scrap of lace. Then, sincerely 
shocked, they went hand in hand and on tiptoe 
upstairs to Cherr>''s little boudoir. Once there 
they locked the doors and lighted cigarettes 
and Jack with a desperate gesture went to a 
cellarette and poured himself a stiff, and Cherr\' 
a little, one. 

It was too much. 

The professor departed for the Western 
College in which he held the chair of philos- 
ophy. .\nd wrote regularly. April, reading 
his letters at the breakfast table under the 
black and blue fire of four curious eyes, would 
smile quietly and fold up the sheets and return 
them to their envelopes — when she didn't 
hand them over with the remark that they 
were of "great interest." Then Jack and 
Cherr>' would read them dutifully and under- 
stand about six words in ten. 

A few weeks after this, on a gorgeous spring 
day, Cherr}' met young Howard .Andrews at 
a party in the Ritz. Young Andrews was 
rougher and faster than any boy of his age — 
which was twenty-four — in Xew York. He'd 
been an aviator and had returned with medals 
and a limp and a fixed determination to get all 
there was out of life, having seen death a little 
too often. So he knew the value of living flesh 
and blood. 

It so happened that he had never met Cherr\' 
until this momentous occasion and with the 
promptness that characterized him. he fell in 
love with her. He was just off with an old 
love — it had lasted six weeks — and had left the 
lady to console herself with her art, which was 
that of the \oiceless L^ndraped in the Follies. 

-Andrews, at a loose end, became enslaved. 

.A day or so later he appeared in W^estchester 
dri\ing an English car and when his card was 
brought to Cherry she gave a little scream. 

"It's that bad .Andrews boy!" she said with 
delight to Jack and the impassive butler, 
"Show him in, Hodges." 

That began it. And when he'd left she said 
to Jack, a little wistfully, 

"0»r son — really." 

JACK nodded. For young .Andrews was all 
they'd planned for Junior — gay and generous, 
a little wicked, terribly appealing, as charming 
as a prince out of a fair>' tale. 

.And he was motherless, which touched 
Cherry very much. 

He came often. He did not meet .April, for 
April was visiting a war work friend in Cleve- 
land and indulging in a perfect orgy of some 
kind of research work. He met Jack, however, 
on every occasion and tried to hate him, but 
couldn't and only envied him instead. 

"He's in love with you!" said Cherry's hus- 
band. 

"Perhaps, poor boy ..." said Cherry 
vnth half a tear in one eye; "X wish he be- 
longed to us!" 

Now, you'll say, that was a reprehensible 
attitude for Mr. blasters to take. .A careless 
"He's in love with youl" and no more, uttered 
^\'ith an air of "it's happened before, it will 
happen again and it's rather flattering, if any- 
thing." But as a matter of fact Jack had seen 
so many men fall in love with Cherry, with her 
gay sweet eyes and her friendliness and her 
vivacity and her beauty, that it didn't disturb 
him at all. Cherry could handle them. She 
never made an enemy, she never encouraged a 
scene, she never let a man down or showed a 
grain of malice or greed or meanness. Jack 
knew her too well to bother. He was only 
sorry, he said, for the poor devils who couldn't 
have her — he likened her to an alluring bake- 
shop display, with small, hungry boys standing 
outside on a cold street, their noses against the 
pane. And Cherry, who loved her own man so 




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much that she was kind to all men but thought 
of them as bloodless shadows, tweaked Iiis 
nose, kissed him behind the ear and said. 
"Xonsense!" 

Then .April came home, unheralded, on a 
day when Jack really had to go to business. 
He had no business, as you may have guessed, 
but sometimes he cut coupons and took his 
brokers to lunch. 

April had a latch key. She didn't need it, 
with a million sleepless ser\'ants in the house, 
but she had it as a svTnbol. She therefore let 
herself in at the tea hour and walked straight 
into the smaller drawing room just as young 
Andrews slid, very gracefully for a wonder, to 
his immaculate knees and with Cherr>-"s hand 
against his cheek, made a heartbreaking de* lar- 
tion. 

"Oh!" said April. 

Young Andrews rose, still with grace and not 
at all abashed. Cherr>% who had just patted 
him on the head with her free hand and who 
had just opened her mouth to say that she 
thought he was a dear and was quite glad he 
cared for her, only he mustn't be silly because 
that would spoil things and would he dine with 
her and Jack tomorrow? sat quite still and 
never turned a red hair. Not feeling guilt}' she 
didn't act it. Instead, she said, in a pleased 
tone: 

"April, my darling! Why didn't you phone 
for a car?" 

Young Andrews was presented, tea came 
and talk was general. Then Jack arrived with 
a slilT right arm from wielding scissors and 
greeted his guest and his child. .\nd there sat 
April, outwardly serene, but with her cold 
young heart flaming for the first time in her 
life, and flaming with a real passion. A passion 
of horror, of disgust, of wrath, at her mother, 
of pity for her father, and maternal anxiety for 
the poor duped youth whose dark head had 
shone so sleekly in the afternoon sunlight, 
whose dark eyes had been so full of other 
flames — flames she had not felt, and could not 
understand. 

V\ THEN young Andrews had gone, conscious 
** of anticlimax and a little puzzled, and 
when .April had gone to her own room to think 
things out. Cherr>- sat still in the smaller 
drawing room and gave Jack a graphic ac- 
count of -April's entrance. 

"If only she'd come a minute later," she 
sighed. "Now, I'll have it to do all over again 
— Howard, I mean. He's such a dear — he 
doesn't really mean a word he says. But he's 
lonely — I wish we could do something for him." 

She pondered and Jack laughed and frowned 
over her recital, and then the great black eyes 
shone with mischief and something softer — 

"Listen!" 

She put her head on the shoulder so near her 
and whispered for five minutes. When she was 
sUent Jack was speechless with admiration. 

"Xow if you had directed the late war — " 
he suggested, respectfully. 

Young Andrews came often to the house in 
the hills. It was plain to April that he was 
being encouraged. Her father remained 
"blind," She struggled, poor young thing, 
with her conscience, her distaste for the uncon- 
ventional, her loj'alty, her real love for her 
"mistaken" mother. Struggled — was silent, 
until one day, her mother being out. she re- 
ceived young Andrews alone, clothed in some 
straight blue thing that fell in lovely lines 
about her body, with her face above it as pale 
and stem as that of a young archangel, and 
LTowned with a halo of pale gold hair. 

This was, she knew, her opportunity. 

Now young Andrews, as Cherr>' very well 
knew, had grown a little tired of worshiping 
at the shrine of a gay goddess who was never 
serious and never sentimental- He had been so 
tenderly laughed at for his pains and pangs. 
Plad been made an intimate of the household, 
so much a friend of his older host. And he was 
a nice boy, really. He was lonely, as Cherry 
had guessed, and he loved beauty. There was 
no \ice in him, no real harm. Only bojashness 
and an effort to Uve up to an exaggerated repu- 



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tation. He wanted s>Tnpathy. He wanted — 
all the warm reach of humanity. He'd been in 
a war and he'd looked on things he couldn't 
forget. So he'd come home, a little reckless and 
feeling a little cjiiical. Just now he'd reached 
a stage when confession would be very good 
for his soul. 

And April helped him — as Cherry had 
known she would. 

There she sat now, in a great high canen 
chair, her pale head a flower against the dark 
background — and after a moment or two of 
banalities she spoke, hardly stirring, her long 
hands held hard in her lap — 

■'Mr. Andrews — " 

He was sitting, a little gloomy and distrait, 
on the couch opposite. He looked up quickly 
from the brown hands clasped around his 
knees and smiled. 

"Miss blasters?" 

"I think." she said with the austerity of a 
nun and the sweetness and chill of ice-cream, 
'■ I think you come here too much." 

1 le brightened. Gloomed instantly. 

"Your mother has said so — ?" 

"No—" 

She paused, then went on, evenly: 

"My mother — and I am not disloyal when 
I discuss her with you — my mother is used to 
admiration. She has always had it, she is a 
very beautiful woman. She is not — serious 
minded. She does not realize that she en- 
courages people — " 

Young .\ndrews broke in there. 

"Then I'm not the first to — ?" 

"Oh, no!" She lifted her hand, looked at 
it, ticked off the roll call on the slender fingers, 
"There was Stephen Peters — and Tommy 
"Lord — and Sir Henry jMarshall — and the 
Frenchman whose name I've forgotten — and 
the Washington man and the Belgian attache 
and — oh, dozens," she said hastily. "I shouldn't 
name them — you must understand there's 
never anything — sordid in it — it's only that she 
loves to be admired and my father doesn't 
seem to care — " 

"I've noticed that," said young Andrews, 
with even deeper gloom. 

He rose and crossed the room and stood 
before her. 

"Y'ou're right. I come here too much," he 
said. "But she's very lovely — and I do care 
for her. Help me." said young Andrews, with 
real appeal, "help me to get over it!" 

SHE looked up at him. He was so young, so 
virile, so amazingly engaging. To her aston- 
ishment, she felt the rare color creep to her 
neck and cheek. Under young Andrews' 
melancholy and ardent eyes she bloomed as a 
pale rose blooms, to scarlet life. For one shin- 
ing moment she had flashed from what he had 
secretly characterized as a pretty stick into a 
human, breathing girl, very lovely, ver\^ much 
aware of him. Y'oung Andrews felt his heart 
miss a beat. 

"If I can," answered April, falteringly, un- 
usually. 

He drew a hassock close beside her and sat 
at her knees, a worshiper at a saint's shrine. 

"You're — lovely — " he said — "so cool and 
sweet — " 

It came over him suddenly, as it does to all 
normal young men in like circumstances, that 
he was a ver>- sad dog indeed, stained with the 
world's dust, wholly unworthj' to touch the 
hem of that heaven-blue garment. With this 
feeling of self abasement, paradoxically his 
self-respect came back. Damn it. he was a 
rotter, unfit and spoiled. That's how she made 
him feel. Cherr\', on the other hand, made him 
feel like a little boy, a child whose lisping 
arouses tolerant laughter, about as wicked and 
as dangerous as a precocious cherub. In a word, 
April had given him back his manhood, his 
perilous, dark manhood. 

He bent a little closer and laid those \vicked 
lips against the cool white hand and then rose 
to his feet. 

" May I come again . . . and often ... to 
see you?" 

And April said yes. 



When their engagement was announced to 
April's parents there was rejoicing. Oh, but 
young Andrews was head over heels in love 
. . . and .\pril. was she sure? 

Her mother questioned her, the night of the 
announcement. 

She went to the girl's white-and-rose room 
and sat beside her on the bed. 

"Oh, yes . . ." said April, with eyes like 
stars. "I'm sure! You see — '' she turned and 
laid her hand on her mother's — "you see, he 
needs me so much — he hasn't been bad, not 
really — he's just never had anyone to help 
him." She stopped and blushed a little, blush- 
ing came so easily now, and added, in a rush, 
"Women have spoiled him — you too. Mother 
— you know he thought he was in love with 
you?" 

Her mother held her close. 

"No, my dearest, he was in love with love! 
Who would want December,"' she asked smil- 
ing, "when he can have — April?" 

"Oh, Motherl" .\pril was shocked. 

* ' December? WTiy , you're only just middle- 
aged!" 

Cherry went to Jack for consolation. 

So young Andrews came into safe harbor and 
never recognized the hand on the wheel. And 
quite sincerely told Cherr>' that he would be a 
son to her. He felt it. She was, after all, the 
mother — the gay, pretty, understanding 
mother he'd always wanted. Merely, when he 
met her his emotions got a little mLxed, they 
were so used to running in one channel that he 
didn't quite recognize the diflterence in the 
current. 

Something of this he told her in a long 
talk they had together. 

HE TOOK April away from them and the big 
house in the first flushing of Autumn. 
When the car had gone and the farewells stiU 
rang in their ears . . . "Take care of mother!" 
(that was April) and "I'll be good to her. 
Dad ! " ( that was young Andrews, feeling 
pleasantly unworthy and radiantly happy), 
and after the guests had departed. Cherry and 
Jack sank into armchairs in the disordered 
room and looked at the wilting flowers and at 
each other. 

"Cigarette!" said Cherry. 

He gave her two. She lit them both and 
smoked them alternately. She kicked ofi her 
beaded sUppers and put her slim silken feet in 
her husband's lap. 

"If he hadn't needed reforming she w-ould 
never have married him," she said. 

Heartless, middle-aged creatures, listen to 
them laugh. 

Jack put her feet carefully on a cushion, de- 
parted, and then returned with two small 
glasses bright \vith an exotic liquer. 

"Here's to them," he said, tenderly, "bless 
'em." 

When the toast was disposed of and they 
were sitting in one chair, Cherry asked: 

"Happy?" 

He kissed her. 

"Will tiuy be happy?" she pursued. 

Jack pondered. 

"Yes. She'U always have him to look after, 
she'll always be fetching his moral rubbers and 
he'll always feel that if it weren't for her he'd 
be a Very Bad !Man indeed. Yes, they'll be 
happy. Much as I love our child, I confess 
she's been hard to live up to. Howard won't 
have to do that. She'U do all the h\'ing up for 
both of them." 

Chcrr>' clapped her hands suddenly and 
spilled ashes in all directions. 

"Grandchildren! Lots of them! Bad ones! 
Throw-backs . . . just like us!" 

At this they clasped each other and rocked 
to and fro in a silent rapture. Now they could 
plan again. 

"How we'll spoil them!" said Cherry, 
sleepily. 

"Meantime," said Jack, holding her very 
close, " meantime, my darling — you look about 
sixteen — kiss me. .April's not here. . . . Alone 
at last — " he added, as she. with considerable 
enthusiasm, graciously complied. 




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124 



Photoplay Mag.\zine — Adn'ertising Section 




The Gentleman Known as Lew 



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[ CONTIXUED FROM PAGE $2 ] 



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best friends are writers . . . there's Odd Mc- 
Intyre and Billy de Beck and Don Stewart. 
'Bugs' Baer, too. .-Ul great fellows, . . . Yes, 
I like writers." 

And, as a matter of record, Lew does. But 
he also likes actors, directors, musicians, 
singers, dancers, vaudeWUians, clerks, bank 
presidents, producers and just people. And 
they like Lew. He has no apparent enemies. 
On the other hand, he has no intimate friend. 
Plenty of acquaintances, plenty of people who 
mill around him, yes. But no particular 
confidant. 

He shoots through the heaven of HoU>T^'ood 
like a comet, leaving in his wake a wide swath 
of admirers- Lew is the sjTnbol of what most 
men would like to be. 

.A, dilettante of life, sipping at its splendors. 
A thoroughly likeable chap, obliging and gen- 
erous. 

HE is always being called upon to officiate at 
premieres, at benefits, at bazaars, at beauty 
contests, at dance hall openings. And Lew is 
always there, debonair, wholly charming and 
witty. Idolized by the women, admired by the 
men. 

And so funny, my dear, you'd die! Funny 
with that charming eas>'" way of his that makes 
no one feel uncomfortable, as you do when 
awaiting a diamond -tipped barb from the lips 
of a John Barrjinore. But funny, you know, 
like the tim e of the opening of "The Merr>- 
Widow'" when Lew made a long and e.xceed- 
ingly compUmentarj' speech about a rising 
young actor and then introduced himself! And 
then said that Xorma Shearer couldn't come to 
the opening because her mother wouldn't allow 
her to stay up so late. ^Mlich was ridiculous, 
and everyone knew it. 

They laughed so heartily that ilarcus Loew, 
who was to make the next speech, had to wait 
until the laughter crept to the back of the 
house and made its exit. It wasn't so much 
what Lew had said, you must understand, but 
how he said it. 

.\nd there was that time — Lew laughs about 
it yet, and so does Jack Mulhall and "Buster' 
Reaton and Lloyd Hamilton — that they all 
went to New Orleans to be present at the open- 
ing of a new Loew theater. 

Lew was master of ceremonies. He intro- 
duced Jack and " Buster" and Lloyd and they 
got their applause. 

Then he launched into an introduction of "a 
little lady whom j-^ou all have seen on the 
screen many times. A little lady whom Holly- 
wood loves as much as you do. Our favorite 
child actress — Baby Pegg>-!" 

And onto the stage was trundled "Buster" 
Keaton with sunbonnet and nursing bottle, 
legs hanging over the side of a perambulator. 
"Baby Pegg>'"' was followed by "Ham" 
Hamilton, alias ' ' Pola Negri , " in Spanish 
shawl and rose, and he was supplanted by Jack 
Mulhall as "Xita Xaldi." 

You see how resourceful Lew is. But that is 
not all. There was the grand chase that took 
place between Lew and "Ham" — I have for- 
gotten the cause — but Lew did a Brody from 
the stage to the aisle and chased "Ham" 
around and around the theater amidst the ex- 
citing cackling and loud guffaws of the first 
night audience. 

Lew chased him through an exit, down the 
street and caught him two blocks from the 
theater. 

Still the fun was not ended. Not with Lew 
and "Ham." They ruffled their hair, imtied 
their collars. Lew grabbed a fire hatchet from 
the lobby of the theater, and again the chase 
started. 
The audience was gasping for breath. 
"Stop it, boys!" ordered Marcus Loew, 
whose speech had been interrupted by their 



reappearance. It seems that Lew is forever 
cramping Loew's style. So Lew and "Ham" 
contented themselves with crawling up and 
down the aisles on all fours, whispering in stage 
tones: 

"Here you are, folks! Popcorn and peanuts! 
With everj- nickel bag of peanuts you get a 
copy of Marcus Loew's mustache!" 

You see what a ver>' funny man Lew Cody 
can be if he wants. And he can be ven.' 
romantic and ver\" bo\-ish. each at the right 
time and under the right circumstances. 

He can be romantic when he talks of his first 
meeting with Mabel Xormand, whom he re- 
cently made his fireside companion. He can be 
romantic and sentimenta.1 and bo>'i3h and 
wholly charming as he says he met her "years 
and years ago," and then smiles imder that 
teasing mustache, "years ago, j"ou know, when 
we were very- young. 

"Mabel promised to meet me on a certain 
street corner in New York at a certain time. 
I'm still waiting. But when I met Mabel again 
in Holl>-^vood I vowed I'd make her pay. I 
did. I married her. .\nd Mabel sajrs she 
never enjoyed paj-ing any debt more. 

"We intended to take ourselves quite se- 
riously — Mabel and I. Then one of our friends 
told Mabel that she certainly had married a big 
laugh, so," with a shrug of the shoulders, "we 
couldn't be serious. After all, we're both 
comedians. Why not laugh? It's nice to be 
able to laugh, together." 

.\nd it is. isn't it? 

Cody can also be a bit bashful and em- 
barrassed, as he was that night at the Wampas 
dinner for Ir\'in Cobb, when Lew, who is the 
mascot of the publicity men's association, was 
to follow the illustrious speechmaking of 
George Jessel and Marc Connelly and Ir\'in 
Cobb. It was the same Lew who is so bril- 
liantly clever on other occasions who fumbled 
with his water glass, said a ver>' few words and 
sat down with almost an apology- on his lips. 

Perhaps it was the weather, or perhaps it 
was the mood, but whatever it was, Lew's 
presence was greeted with the same warmth as 
though he had given his famous French- 
Canadian monologue for the first time. 

There must be something genuine in the 
Wampas' affection for Lew. They gave him a 
hip flask, all hammered silver, on which was 
engraved : 

"To Lew Cody, for no good reason." Lew 
uses it to carry chocolate malted milk. 

"Have you heard of my stink in' dinners?" 
There being a negative nod, Lew continued: 
"Ever>' once in a while I get the press boys 
together for dinner at my house . . . astinkin' 
dinner. I have corned beef and cabbage and 
plates of young onions and radishes. For 
dessert we have cheeses — Limburger. Rocque- 
fort. all the smelly cheeses I can get. A real 
stinkin' dinner — reminds me, I must have one 



NOW it's up to me when I see the long slim 
girl with the blue, blue eyes and the gold, 
gold hair and the long, long lashes, to tell her 
all that I have told you. I vnW tell her, too, 
that Lew was bom in Berlin, New Hampshire, 
for she will be interested, and that his name 
was originally Cote. That he was educated at 
McGill College in Montreal and studied 
medicine. Then he turned to the study of 
dramatic art and went on the stage. Eventu- 
all>- he owned five stock companies and played 
in vaudeville. 

When pictures were ver>'. very young he 
came to Holl\-wood. I will tell her of his mar- 
riage. That will crush her. 

No longer will I have to introduce her. 
Which is lucky when you consider Lew's tan- 
talizing eyes, tliat teasing mustache, that devil- 
within cleft In the chin. 



Erery advertisenieni Id PHOTOPI*AT SIAGA ZI XE la cuaranteed. 



Casts of Current Photoplays 

Complete for every picture reviewed in this issue 



125 



Photoplay Magazine — Advertising Section 

"A New Skin 
In 3 Days" 



"HOTEL LMPERIAL" — Paramoitnt. — 
Storj' by Lajos Biro. Directed by Mauritz 
Stiller. The cast: Anna Scdlak, p'ola Negri; 
Andreas Farkas (Atinasy), James Hall; General 
Jaschkkwitsch, George Siegmann; Elias Bnllcr-. 
man, Max Davidson; Tabakincitsch, Michael 
Vavitch; Anton Ktinak, Otto Fries; Baron 
frcdrikson, Xicholas Soussanin; MaJ. Gt'n. 
Sidtanov, Golden Wadams. 

"F.\UST" — METRO-GoLDn-i'N--M.\\-ER. — 
Based on stor\- by Goethe. Manuscript by 
Hans Kyser. Directed by F. W. Mumau. 
Photography by Carl Hoffman. The cast: 
Cherub, Werner Fuetterer; The E'eil Spirit, 
railed Mephisto, Emil Jannings; Fans', Gosta 
Eitman; Marguerite, Camilla Horn; Her 
Mother. Freida Richard; II er Brother Valentine, 
Wilhelm Dieterle; Her Aunt Martha, Vvette 
Guilbert; The Duke, Eric Barclay; The Duchess, 
Hanna Ralph. 

"WE'RE IN THE NA\^' NOW"— Para- 
mount. — Stor>" by Monty Brice. Scenario by 
John McDermott. Directed by Edward 
Sutherland, Photography by Charles Boyle. 
The cast: Knockout Hansen, Wallace Beery; 
Stinky Smith, Rajinond Hatton; Captain 
Smithers, Chester Conklin; Sailor Percival 
Scruiiss, Torn Kennedy; Radio Officer, Donald 
Keith; Madelyn Phillips, Lorraine Eason; U- S. 
Admiral, Joseph W. Girard ; Admiral Fuckerlip, 
Max .-Vsher. 

"RETURN OF PETER GRIMM, THE" 
- — William Fox. — From the stage play by 
David Belasco. .\dapted by Bradley King. 
Directed by Victor Schertzinger. The cast: 
Peter Grimm, .-Vlec B. Francis; Frederik Grimm, 
John Roche; Catherine, Janet Gaynor; James 
Hartman, Richard Walling; Andrew Mac- 
Phcrson, John St. Polls; Rev. Henry Borthol- 
oniey, Lionel Belmore; Mrs. Bartholomey, 
Elizabeth Patterson; Marta, Bodil Rosing; 
William, Miclcey McBan; .innaoiarie, Florence 
Gilbert; The Clown, Sammy Cohen; Tob, the 
dog. Hank. 

" UPSTAGE " — Metro-Goldti'yn-Mayer. 
— Story by Walter De Leon. Scenario by 
Lorna Moon. Directed by Monta Bell. 
Photography by Gaetano Gaudio. The cast: 
Dolly Haven, Norma Shearer; Johnny Storm, 
Oscar Shaw; Sam Davis, Tenen Holtz; Diyie 
Mason, Gwen Lee; Miss Weaver, Dorothy 
Phillips; Mr. Weston, }. Frank Glendon; 
Wallace King, Ward Crane; Stage Manager, 
Charles Meakin. 

"EVERYBODY'S ACTING" — P.ar.\- 
MOUXT. — Story by Marshall Neilan. Scenario 
by Benjamin Glazer. Directed by Marshall 
Neilan. Photography by David Kesson. The 
cast: Doris Poole, Betty Bronson; Michael 
Poole, Ford Sterling; .inastasia Potter, Ix)uise 
Dresser; Ted Potter, Lawrence Gray; Thorpe, 
Henry Walthall; Ernest Riee, Raj-mond 
Hitchcock; C/iiy/iiH Budd, Stuart Holmes; Peter 
O'Brien, Edward Martindel; Paul Singleton, 
Philo McCuUough; Bridewell Potter, Jed 
Prouty; Barbara Potter, Jocel>Ti Lee. 

"SYNCOP.\TING SUE"— First Nation- 
■*L. — From the stage play by Reginald Goode. 
Adapted by .\delaide Hcilbron. Directed by 
Richard Wallace. The cast: Susan Adams, 
Corinne Griffith; Eddie Murphy. Tom Moore; 
Arthur Bennett. Rockcliffe Fellowes; Joe Horn, 
Lee Moran; Marge .idams, Joyce Compton; 
Laiuiliidy, Sunshine Hart; Marjorie Rambeau, 
Marjorie Rambeau. 

"LOVE'S BLINDNESS"— Metro-Gold- 
WYNt'-ALw-ER. — Story and adaptation by Elinor 
Clyn. Directed by John Francis Dillon. The 



cast: Vanessa Levy, Pauline Starke; Hubert 
Cuiverdale, Eighth Earl of St. A usiel, .Antonio 
iloreno; Altice (Duchess of Lincolnwood), 
Lilyan Tashman; Benjamin Levy, Sam de 
Grasse; Charles Langley, Douglas Gilmore; 
Marchioness of Ilurlshire, Kate Price; Marquis 
of Ilurlshirc, 'Tom Ricketts; Col. Ralph Danger- 
field, V. C., Earl Metcalfe; Oscar Issaeson, 
George Waggner; Madame De Jainon, Rose 
Dione; Valet, Ned Sparks. 

"MILLION.-URES" — Warnt-r Bros. — 
Suggested by the story by E. Phillips Oppen- 
heun. Screen storv- by Rajmiond L. Schrock. 
Directed by Herman Raymaker. Photog- 
raphy by Byron Heskins. The cast: Meyer 
Rubens. George Sidney; Reba, Louise Fazenda; 
Esther Rubens, Vera Gordon; Maurice, Nat 
Carr; Ida, Helene Costello; Lew, .\rthur Lubin; 
Lottie, MyTna Loy; Detective, Otto Hoffman; 
Helper in Tailor Shop, William Strauss. 

"MAGICI.AN, THE"— Metro-Goldwto- 
Ma\-er. — Story by Somerset Maugham. Adapt- 
ed and directed by Rex Ingram. The cast: 
Margaret Daunecy, .Uice Terr)'; Oliver Haddo, 
Paul Wegener; Dr. .Arthur Burdon, Ivan Petro- 
vich; Dr. Porhoct, Firmin Gemier; Susie Bovd, 
Gladys Hamer. 

"PRIVATE IZZY MURPHY"— WAR.NER 
Bros. — From the story by Raj-mond L. 
Shrock and Edward Clark. Scenario by Philip 
Lonergan. Directed by Llovd Bacon. Photog- 
raphy by \"irgil Miller. The cast: l:zy 
Murphy, George Jessel; Eileen Cohannigan, 
Patsy Ruth Miller; Sara Goldberg, \'era 
Gordon; The Shadchen, Nat Carr; Jacob Gold- 
berg, William Strauss; The Monohan Kid, 
"Spec" O'Donnell; Cohannigan, Gustav von 
Sej'ffertitz; The .lltorncy, Tom Murray. 

"MIDNIGHT LOVERS"— First N.ation- 
."iL.- From the stage play by J. E. Harold 
Terry. Scenario by Carey Wilson. Directed 
by John Francis Dillon. The cast; Major 
William Ridgewell, R. F. C, Lewis Stone; 
Diana Fothergill, .\nna Q. Nilsson; OvL'en 
Ffolliott, John Roche; Moriarilv, Chester 
Conklin; Heatlcv. Dale Fuller; Wibley. Purnell 
Pratt; Archer, Harney Clark. 

"EXIT SMILING" — Metro-Goldw\-n'- 
Maver.— Stor>- by Marc Connelly. Scenario 
by Sam Taylor and Tim Whelan. Directed by 
Sam Taylor. The cast: I7t)/i/, Beatrice LiUie; 
Jimmy .Marsh, Jack Pickford; 0/j;ii, Doris 
Lloyd; Orlando Wainwrighl, DeWitt Jennings; 
Macomber, D'.\rcy Corrigan; Cecil Lovelace, 
FrankUn Pangbom; Jack Hastings, William 
Gillespie; Dave, the Stage Hand, Cari Richards; 
Jesse Watson, Harry Myers; Canada Phillips, 
Tenen Hoitz; Phyllis, Louise Lorraine. 

"SO'S Y'OUR OLD MAN"— Paramol-nt. 
—Story by Julian Street. Adapted by Howard 
Emmett Rogers. Directed by Gregory La 
Cava. Photography by George Webber. The 
cast: Samuel Bisbee, W. C. Fields; Princess 
Leseaboura, .Alice Joyce; Kenneth Murchison, 
Charles Rogers; Alice Bisbee, Kittens Reichert; 
Mrs. Bisbee, Marcia Harris; Mrs. Murchison, 
Julia Ralph; Jeff, Frank Montgomery; Al, 
Jerry Sinclair. 

"RED HOT HOOFS"— F. B. 0.— Storv bv 
George Worthington. Continuity b\- F. .k. \L 
Pine. Directed by Robert De Lacy. Photog- 
raphy by John Leezer. The cast: Tom 
Buckley, Tom Tyler; Frankic Buckley. Frankie 
Darro; Frances Morris, Dorothy Dunbar; 
Gerald Morris, Stanley Taylor; Jim Morris, 
Harry O'Connor; Battling Jack Rilev. .\1 Kauf- 
man; Al Skelly, Barney Furey. 



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126 



Photoplay Magazine — Advertising Section 



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" LONDON' " — British National Pic- 
TUREs-rARAMouNT. — From the story by 
Thomas Burke. Directed by Herbert \\'ilcox. 
The cast: Mavis llo^on, Dorothy (iish; Artist, 
John Manners; Paul BHnord, Adelqui JMillar; 
Kate, Elissa Landi; King of Chinatown, Gibb 
McLaughlin. 

"OUTL.WV EXPRESS, THE"— Pathe.— 
Written and arranged by Ford I. Beebe. 
Directedby Leo D. Maloney. Thecast: Miles 
Wayburn, Leo Maloney; Ann Townsend, Joan 
Renee; Sheriff Toumscnd, Melbourne Mac- 
Dowell; Carl Larson, Albert Hart; John Mills, 
Henry Otto; His Secretary, Paul Hurst; Ma 
Ilemstctter. Evel>Ti Thatcher; '"Chaw'' Egan, 
Nelson McDowell; "Borax'' Jones, Fred 
Burns; "Blackie" Lewis, Bud Osborne; Scotl, 
Frank Ellis. 

"BELLS, THE"— CHADwacK.— From the 
play by Erckmann-Chatrain. Directed by 
James Young. The cast: Malhias, Lionel 
Barr>TTiore; Koweski, Fred Warren; Mesmerist, 
Boris Karloff; Frantz, Gustav von Seffertitz; 
Annette, Lola Todd; Christian, Eddie Phillips. 

"COLLEGE DAYS" — TiFFAXY.— Story 
and continuity by A. P. Younger. Directed by 
Richard Thorpe. Photography by Milton 
Moore and Mack Stengler. The cast: Mary 
Ward, Marceline Day; Jim Gordon, Charles 
Delaney; Larry Powell, James Harrison; 
Phyllis, Duane Thompson; Kenneth Sladc, 
Brooks Benedict; Louise, Kathleen Key; 
Bessie, Edna Murphy; Mr. Gordon, Robert 
Homans; Kent, Craufurd Kent; Bryson, 
Charles Wellesley; Carter, Gibson Gowland; 
Prof. Maynard, Lawford Davidson; Coach, Pat 
Harmon; Dean, William A. Carroll. 

''THAT MODEL FROM PARIS" — 
TiFFAx\'. — Suggested by the story by Gou\'er- 
iK'ur Morris. Adapted by Frederica Sagor. 
I )irccted by Louis J. Gasnier. The cast: Jajie 
Miller, Marceline Day; Robert Richmond, Bert 
Lytell; Manm, Eileen Percy; Morgan Grant, 
Ward Crane; Lila, Miss Dupont; Monsieur 
Martel, Arthur Hoyt; Henry Marsh, Craufurd 
Kent; Mr. Katz, Otto Lederer; Katz ^ Katz's 
Cashier, Sabel Johnson; Office Boy, Leon 
Holmes; Masseuse, Nellie Bly Baker; Grant's 
Valet, George Kuwa. 



"SHAMEFUL BEHAVIOR"— Preferred 

Pictures. — Story by Mrs. Belloc Lowndes. 
Adapted by Douglas Bronston. Directed I y 
Albert Rellcy. Photography by Nicolas 
Musuraca. The cast: Daphne Carrol, Edith 
Roberts; Custis Lee, Harland Tucker; Jack 
Lee, Richard Tucker; Mrs. Calhoun, Martha 
Mattox; Joan Lee, Grace Carlyle; Sally Long, 
Louise Car\'er; The Bullcr, Hayes Robertson, 

"HIS NEW YORK WIFE"— Preferred 
Pictures. — Story and screen play by Leon 
'Abrams- Directed by Albert Kclley. Photog- 
raphy by Nicholas ftlusuraca. The cast: Lila 
Lake, Alice Day; Philip Thome, Theodor \ on 
Eltz; Alicia Duval, Ethel Clayton; LHa^s Aunt, 
Edith Yorke; Julia Hewitt, Fontaine La Rue; 
Jimmy Duval, Charles Cruze. 

"SPAN'GLES" — Unitcesal. — Story by 
Nellie Revell. Adapted by Leah Baird. 
Directed by Frank O'Connor. Photography 
by Andre Barletier. The cast: Spangles, 
Marian Nixon; Dick, Pat O'Malley; Bowman^ 
Hobart Bosworth; Mile. Dazie, Gladys Brock- 
well; Vincent, Jay Emmet; Zip, James Conly; 
Bearded Lady, Grace Gordon; Armless Man, 
Paul Howard; Giant, Tiny Ward; Dwarf, 
Charles Becker; Fa! Woman, Nelle B. Lane; 
Rawlins, Clarence Wertz; Strong Man, Harry 
Schultz; Skeleton, Herbert Skelly. 

"THERE YOU ARE "— Metro-Goldwyn- 
Mayer. — From the novel by F. Hugh Herbert, 
Adaptation and continuity by F. Hugh 
Herbert. Directed by Edward Sedgwick. 
Photography by Maxmillian Fabian. The 
cast: George Fenwick, Conrad Nagel; Joan 
Randolph, Edith Roberts; William Randolph, 
George Fawcett; Anita Grant, Gwen Lee; 
Eddie Gibbs, Eddie Gribbon; J. Watson Peters^ 
Phillips Smalley; Mrs. Gibbs, Gertrude 
Bennett. 

" PLEASURE GARDEN, THE "—Artlee. 
— From the story by Oliver Sandy. Adapted 
by Eliot Stannard. Directed by Alfred Hitch- 
cock, The cast: Patsy Brand, Virginia Valli; 
//// Chcyne, Carmelita Geraghty; Level, Miles 
Mander; Hugh Fielding, John Stuart; Hamil- 
ton, George Snell; Prince Ivan, C. Falkenberg; 
Mr. Sidey, Fred. Martini; Mrs. Sidey, Florence 
Helminger. 



The Shadow Stage 



[ CON'TINL'ED FROM P.AGE 55 ] 



THAT MODEL FROM PARIS— Tif any 

HERE is a fairly amusing number of the 
office plain Jane who poses as a model 
from Paris. Bert Lytell is the gay son of the 
owner of the establishment and he falls hard. 
The villainous \\'ard Crane does his dirty 
work and Bert loses faith in the girl. Later 
the lovers are reunited and then — the final 
clinch. Sounds rather interesting, eh — well, 
the pleasure is yours. 

THERE YOU ARE— 

Metro-Goidwyn-Mayer 

"pop is the kind of a fellow that has a very 
-*- efficient Bobby secretary. Daughter is the 
kind of a girl who has her say-so in e\'cr>'thing. 
She decides the secretary is all wet and under 
her guidance what a guy he turns out to be. 
They elope with the usual chase by the pater 
and everj'thing turns out hunky-dory. It 
really is quite amusing — and we can think of 
duller ways of spending your evening. 

HIS NEPT YORK WIFE—Bachman 

THE little country girl again comes to New 
York to become a success in life. She takes 
to writing plays — but is unsuccessful. Then 



she accepts a position as a secretarj', which de- 
mands that she pose as the wife of a rich 
college youth. She falls in love with the law- 
yer who tries to buy her ofif — lots of complica- 
tions, but little entertainment. Alice Day, 
Theodor Von Eltz and Ethel Clayton are in 
the cast. Fair. 

THE OUTLAW EXPRESS— Pathe 

CURSES, curses, curses! Mail robbers again. 
Will the great open spaces never be cleared 
of these bold unscrupulous marauders? But 
wait — a stranger appears and the plot thickens 
as he falls in love \\'ith the sheriff's daughter. 
You've heard all this before? Yes. so have 
we. Leo Maloney. the hero, is far from any 
young girl's fancy. The best that may be 
said of this piece, however, is that it is just a 
picture. 

THE PLEASURE GARDEN— Aywon 

PR0B.A.BLY one of the worst of the foreign 
pictures that was ever put togetlier — even 
though it does boast of two American players — 
Virginia \'alli and Carmelita Geraghty. Poor 
direction and lighting, over-acting and an 
inexcusably bad stor>'. When this comes to 



Every advertisement in PnOTOPLAY MAGAZINE i3 guaranteed. 



\ 



Photoplay MACAZiNt — Advertising Section 



your local theater spend the evening at home 
with the kiddies for it doesn't contain any 
nourishing food for grown-up intellects. 

COLLEGE DAYS— Tiffany 

THE football season is on! It's the same old 
story of the smart aleck freshman who falls 
in lovc'with a sweet little Rirl. He makes the 
team but breaks training the day before the 
big game. At the proper time he is allowed 
to play and the day is saved for the dear old 
Alma Mater. It's good entertainment if 



you haven't been fed up on thcTDTnball entree 
ahead)'. 

SHAMEFUL BEHAVIOR— Bachman 

TALK about laughing at your own jokes — 
we didn't begin to realize that this was a 
comedy until we read the press sheet. It 
states, "The laugh picture you've waited fori 
A gay burlesque of censors and reformers that's 
farcically funny." But don't beheve ever>-thing 
you see and hear. This is far from being a 
comedy knock-out. 



Girls' Problems 




[ CONTINUED FROM PAGE S6 ] 



Mrs. p. C. L.: 

I wouldn't wear brown, if I were you, but 
any of the tan shades should be fiattering to 
you. The more delicate pastel shades belong 
to the blondes, but you should be able to wear 
the yellows and those bordering on red. The 
simplest styles are always the best styles. You 
can adopt that for a shopping rule and never 
go wrong. 

A. J. M.: 

You don't need to gain weight. You are 
heavy enough now. You can wear white, re- 
lieved with some other color: golden brown; 
blue; green; blue gray; darkest purple; no red; 
pale pink and soft rose. If you are serious 
about taking up stage dancing, you should 
go to Xew York, for it has the best dancing 
instructors. Of course you don't have to be 
coarse to be a chorus girl. There are some very 
nice chorus girls these days. 

Mary Ellen Fox: 

It wouldn't do any particular harm, Mary 
Ellen, for you to use one of the light mascaras 
like Maybelline on your eyelashes. Don't use 
so much that it is particularly noticeable. 
Used regularly, it has a tendency to dye the 
lashes. Your red eyelids are probably due to a 
combination of two things — a lack of physical 
tone and putting your eyes under some strain 
in reading or work. If you build up your 
general health your eyelids will go back to 
normal. 

Bunty: 

No, I do not think that you are lucky in not 
having a mother, though you are lucky your 
father is so kind to you. But every girl's 
mother is one of the most important factors in 
her life. Yes, I think you're pretty young to go 
to parties with boys, but if your father approves 
it probably is quite all right. Dark, rachel 
powder would be the best for you. You can 
wear white, relie\ed in some other color; 
golden Drown; blue; darkest purple; no red; 
pale pink and soft rose. The following formula 
is very effective for freckles: Oxychloride of 
bismuth, one dram; calomel, one-sixth grain; 
pero.Kide of hydrogen, one dram; lanolin and 
vaseUne, four ounces each. 

Mrs. H. L. B., Woechester: 

You are quite right in your choice of colors. 
Bright red is delightful for an occasional change. 
Vou could wear violet nicely and pale green. I 
like such colors in lighter materials. Yellow is 
very cheery and would become you. With 
your fine complexion, use very little powder. 
Natural color is a great asset. Don't cover it up. 

Beatrice L., Chicago: 

Unless your skin is very fair, rachel powder 
is best with your black hair. Don't touch-up 
your hair. It will look artificial then and be a 
continual nuisance and expense to you. You 
are washing your hair too often. Brush it 
more. Simplify your diet, exercise more and 
drink sufficient water. I believe that will do 
away with your skin trouble. 



G. M. L., Detroit: 

You should be thankful that nature has en- 
dowed you with a distinctive personality. 
Don't try to look like ever^-one else. That 
isn't an asset, and your black hair and almost 
eyes sound fascinating. I would use rachel 
powder. Correct diet and exercise will reduce 
any one. Eliminate potatoes, candy, white 
bread and pastries from your diet. Eat green 
vegetables and salads. Exercise all you can. 

Rebecca H., North Carolina: 

The best thing to use on your hair to make 
it glisten is a hair brush. Brush and brush, 
and your hair will grow thicker and shine beau- 
tifully. You should be able to wear almost 
any color. Grey would be splendid with your 
eyes and it is a fashionable color this year. 
The lines around the mouth may only be 
laughter lines. 

Blanca M.: 

Never, never put powder or vanishing cream 
over old powder. It clogs the pores and only 
adds to the oily condition of your skin. There 
are special cold creams made for oily skins and 
also astringents that will help correct this con- 
dition. After you wash your face with warm 
water, be sure to rinse it thoroughly, first with 
warm water and then with cold. Or you can 
rub your face with ice, being careful not to 
allow the ice to remain on the skin too long. 
The cold water will close the pores. Bathing 
the face with witch hazel is another excellent 
remedy. 

Entlyn : 

I am not surprised that you sufifer from that 
"dull feeling." It is the result, I imagine, of 
plunging into a sedentary life after your inter- 
est in athletics. But why not keep on with the 
sports that you enjoy? Walk all you can, play 
tennis and seize every opportunity you can for 
being out in the open air. Choose your com- 
panions from friends with similar interests. 
Also watch your diet. Eat fruits and green 
vegetables and don't eat too much. You are 
leading a quietlifeand it'sa great temptation to 
eat too much and exercise too little. As for 
the young man, he sounds jolly and friendly, so 
why give up a diverting friendship? 

Qlt:stion Box: 

Yes, you are six pounds overweight. Am 
once again, I must recommend plenty of exe: 
cise in the open air. And watch the starchy 
foods! The creams you mention are excellent 
for the skin and the depilatory is safe and 
efiFecti\'e. Do you rinse your face thoroughly 
after washing? Use first hot water and then 
cold. Too many rich foods will make your skin 
oily. You can wear golden brown, blue, blue 
gray, pale pink and soft rose. Use natural face 
powder and a coral color lipstick. And your 
eyebrow stick should match the color of your 
hair. High-heeled slippers aren't correct for 
daytime wear, except for afternoon parties. 
The medium heel is better for ordinary wear. 
If you want to look taller, wear dresses with 
long, straight lines. 



"I couldn't get along 
without her" 

"She's the most valuable girl in tho 
office. I've raised her salary twice 
in the last year and she has another 
raise coming soon. She's got tho 
right idea. Studies at home in spare 
time through the International Cor- 
respondence Schools. She knows 
as much about this business as most 
of the men. I couldn't get along 
without her." 

Why don't you specialize on some subject and 
prepare to earn more money? There's no surer way 
to do it than by studying at home in spare time with 
the International Correspondence Schools. 

The I. C. S. has a number of courses especially 
arranged for women. Some I. C. S. women students 
are making as high aa S35, 550, $75 and $100 a 
week as private secretaries, artists, expert letter writ- 
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high-priced sales executives, office managers, adver- 
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Mark and mail the coupon and we'll be glad to 
send you interesting descriptive booklets telling what 
the 1, C. S. can do for you. 

Mail the Coupon for Free Booklet 

INTERNATIONAL CORRESPONDENCE SCHOOLS 
BOK 6S04-B.Scranton, Penna. 

Without cost or obligation, nlcase send me one of your 
booklets Lind tell luc huw I can qualify for the position or 
In tbe subject before which I have marked an X: 

BUSINESS TRAINING COURSES 
DBusInesa Managemont DSak-smanship 

DinilustriaJ Management DAdviTtlsing 

JPersonni'l Organization CBetter Letters 

DTraflie Management QShow Card Lettering 

DBusinL-ssLaw D^^tenography and Typing 

HBankin? and Banking Law DGuainess English 
D.iccountanpyf including C.P.A.)nCivil Service 
DXicholson Cost Accounting DRailway Mail Clerk 

DiJookkeei'ing DCoinmon School Subjects 

^Private Secretary DHl;:h School Subjects 

DSpanlah OHIust rating 

;]French Dfjrtoonlng 

TECHNICAL AND INDUSTRIAL COURSES 



I]EIoctrlcal Engineerlnff 
DEk'Ctric Lighting 
D Mechanical Engineer 
D Mechanical Draftsman 
D Machine Shop Practice 
JRaiiroiul Positions 
JCas Engine Operating 
DCivll Engineer 
USun-eying and MappinK 
H Metallurgy Q Mining 



^Architect 
IJArchlltels' Blueprints 
DOontractnr and Builder 
^Architectural Draftsman 
^Concrete Builder 
^Structural Engineer 
DChemlstry D Pharmacy 
HAutoinohlle Work 
DAlf-planc Engines 
]Agri culture and Poultry 



;] Steam Engineering UBadio QMathematics 

Kame 

Street 



Occupation 

If vou reside in Canada, sertd tJiis aouoon to the International 
Corrtspoiidence Schools Canadian. Limited, Montreal 



IDiamond^ 

Free Bulletin lists Hiamonda es Inw an $>1 
^?r carat, also C*ma •>!' Finaal Quality iit 
hiRhcr per carnt chaivt-s but iiroponionutely 
Low Barcain Prices. Thin 1 k:<3 3/16 can.t 
coireL-tJy cut diainoiid n snnppy blaljiut soltloiri- 
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BoTikiTja firm in all the world lends money on 
diamonda. Thousandn of unpaid loans; and othei 
bHriTiiinH. Many from blR cash deals direct with 
European Diamond Cutters. Uust sell NOW. 

Why Pay Full Prices 

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ca'tn man valnpHRuamntped. Explains unlimited 
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ol Diamond Bargain LlaL i'onlal card will dn, 
Joa. Do Roy & Sons, 3552 Do Roy 8ldg- 

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When you write to advertisers please mention PHOTOPLAY MAQAZIXE. 



128 



i, 



/ 



HOTOPLAY Magazine — Advertising Section 




^entov^' ren 



Clayton J. Wallace, 
Northeast Harbor, Maine, 






a- 



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This simple rule in daily care is preserving youthful charm for 
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npHERE are proved ways and 
unproved ways in skin care. 
The wise woman chooses the 
proved way. 

The rule printed in the text 
at the right is probably respon- 
sible for more naturally clear 
and youthful skins than any 
other method known. 

It is one anyone can follow 
without expense or bother. Its 
results are proved on every hide. 



Rfffar/ Price 

10c 




BE forty if you must, but never for 
an instant look it," is the modern 
woman's doarine. 

Youth can be safeguarded. That's 
proved on every side today. Thirty man- 
ages to look twenty, forty to look thirty 
under present methods in skin care. 

The right way is the natural way. It 
starts with soap and water, with pores 
kept clean and open so as to naturally 
perform their functions. 

Do that in the right way, with the right 
kind of soap, and you will be surprised 
at the results that come. Leading skin 
specialists have learned that proper 
cleansing is probably responsible for 
more youthful skins beyond the allotted 
time than any other method known. Try 
this for a week and note the result. 

The rule and how to follow it 
Wash your face gently with sooth- 
ing Palmolive Soap, massaging the 
lather softly into the skin. Rinse 
thoroughly, first with warm water, 
then with cold. If your skin is in- 
clmed to be dry, apply a touch oi 
good cold cream— that is all. Do this 
regularly, and particularly in the 



evening. Use powder and rouge if you 
wish. But never leave them on over night. 
They clog the pores, often enlarge them. 
Blackheads and disfigurements often 
follow. They must be washed away. 

Avoid this mistake 

Do not use ordinary' soaps in the treat- 
ment given above. Do not think any 
green soap, or one represented as of olive 
and palm oils, is the same as Palmolive. 

And it costs but 10c the cake! So little 
that millions let it do for their bodies 
what it does for their faces. Obtain a 
cake today. Then note what an amazing 
difference one week makes. 

Soap from trees! 

The only oils in Palmolive Soap are 
the soothing beauty oils from the olive 
tree, the African palm, and the coco- 
nut palm — and no other fats whatsoever. 
That is why Palmolive Soap is the nat- 
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oils, nothing else, give Palmolive its nat- 
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The only secret to Palmolive is its ex- 
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world's priceless beauty secrets. 



Pa/mo/Jte Snap is unlouchfj hy human hands until 
you break the wrapper^il is neter sold unurapptd 



THE PALMOLIVE COMPANY (Del. Corp.). CHICAGO. ILLINOIS 



Photoplay Magazine — Ad\-ertising Section 



Breakfast . . . Luncheon . . . Dinner 



y^ 




Three reasons every day 
why your gums need 
IPANA and massage 



THREE times a day we all 
heed with delight the call 
of the menu and gather round 
our bounteous board. 

Good cooking is an art, and 
whether we dine in our homes, 
or take our dinner out, our 
palates are tempted by things 
to eat that melt easily in the 
mouth. 

We delight in the smoothest 
sauces, in tender juicy viands, 
in the creamiest concoaions. 
Our vegetables, our fruits and our grains are 
over-refined and stripped of fibre, devoid of 
rouglfage — even before we cook them. 

And only the dentist rises to protest. Ob- 
serving the plague of gum disorders, study- 
ing their causes, treating their eSects, the 
dentists declare, in a voice almost unanimous, 
that this modern diet, this soft, creamy food 
that we enjoy so much, is at the root of all 
these troubles which so beset our gums in 
this day and age. 

fVhy our soft food brings on 
"Pink tooth brush" 

The gums, like all living tissues, need exercise 
— and stimulation is what our soft diet 
utterly fails to give them. 

No longer does the act of mastication, by 
natural stimulation and massage, speed to 
the gums fresh blood, to nourish and sustain 
them. And as if that were not enough, our 
national habit of hasty eating adds to the life 
of lethargy so damaging for our gums. In 
consequence, our gums grow flaccid and 
logy. They become soft and tender and 
unhealthy. "Pink tooth brush" appears, a 





UU hereier or whenever you difie— your food lacks 
roughage and fibre. Modern food does not— it 
cannot—give your gums the exercise and stimula- 
tion they need to keep them Jn health. That is 
why the dentists are turning to massage and to 
Ipana Tooth Paste. 

warning of more stubborn troubles to come. 
That is a frank statement in a layman's 
language of the dentists' findings. But, very 
logically, as they name the danger and point 
out the cause, they indicate, too, a remedy 
that is both simple and effective. 

How Ipana and massage help to 
restore the gums to health 

We must give back to the gums, the dentists 
argue, the stimulation soft food has taken 
from them. We must stir up the circulation 
and speed to the weakened tissue, fresh and 
strengthening blood. In short, we must mas- 
sage the gums. 

And if you will ask your own dentist, prob- 



IPANA Tooth Paste 

— made by the makers of Sal Hepatica 



P 



ably he will advise that with 
this massage, you use Ipana 
Tooth Paste because of Ipana's 
content of ziratol. He knows 
ziratol — anantiseptic and hem- 
ostatic that for years has been 
valuable to dentists in allaying 
bleeding and in toning weak- 
ened gum tissue. He knows 
Ipana. Our professional men 
have demonstrated its virtues 
to 50.000 dentists, and they, in 
fact, by introducing if to their 
patients, were first to give Ipana its start. 

Buy a full-size tube of Ipana at the nearest 
drug store. You will like its fresh flavor and 
its power to keep your teeth brilliant. And 
if you will take the extra minute to massage 
your gums with the brush after the usual 
cleanings with Ipana, you will be delighted 
with the way your gums improve in firmness 
and tone. 

Won't you, too, switch to Ipana 
for at least thirty days ? 

The coupon brings a ten-day trial cube, 
which will quickly prove Ipana's delicious 
taste and cleaning properties. But the full- 
size tube, good for a full month's brushings, 
is a better test of all that Ipana can do to 
make your teeth anraaive and to promote 
the health or your 
gums. And remem- 
ber, too, that even if 
your gums bother you 
seldom or never, the 
best time to fight gum 
troubles is before they 
start. 





BRISTOL-MYERS CO.. Dept. 12^ 
73 West Street. New York, N. Y. 

Kindly send me a trial tube of ipana tooth 
PASTE. Enclosed is a rwo-cent stamp to cover 
partly the cost of packing and mailing. 

Name 

Address 

\Cily Slate 



!) Bristol-Myers Co.. 1927 



ttlien you write to advertisers please mention PIIOTOPLAT MAGAZIXE. 



Photoplay Magazine — Advertising Section 



Old Ironsides 



"/F itIs a paramount picture 

ITS THE BEST SHOW IN TOWN" 



qie&i^ 



4aY 



Tfce Minc!c Mm: Dr iAjU nod 
Mr. Hydt; The Afiiuo of AiutoT; 
Tfat Co.cr^d Wigon; The Ten 
Conimando>eot»; Peier Pac; 'Ote 
poo* £ipte»»; Th- Vnoifhiag 
Amcrirto. 



9 



oda't^ 



Old If OB 


vdes; B«aa 


GeM*. 


SotTOW' C 


r Saos; The 


toufji 


ILdeo;'W 


loCi; Mctropoli 


:i.Tb= 


Weddii^; Much: V»riecy 


HotcJ 


laip^fUJ: 


we fc lo file 


N'ivr 


Now; The Kid Brother. 






? 






# 





CTbrt*^^ 



ow^H 



Ba>-nuiii; An Amtrican Tr*gfdy; 
Warftf tie Worldj; Sorretnti 
Sob: GecJecif-o Preftr Btoildef: 
ie«u Sab.-eofT Glcrtfving the 
Aicer^rar GiH, 0*ey at th« Bat. 







*^mmm 



Paramount Guide to the Best Motion Pictures 

Check she one i you ha've iten^ iruikc a date for the oihen^ and 
dcr.': rr.iis or.)! Tour "Theatre Alanager 'zuill tell ynu ivhen. 



SO'S YOUR OLD MAN 



Starring W. C. FIELDS. With Alice Joyce 
and Charles Rogers. Directed by Gregory 
La Cava. 



THE GREAT GATSBY 



Warner Baxter, Lois Wilson, Neil Hamil- 
ton, William Powell and Georgia Hale. 
Directed by Herbert Brenon. 



EVERYBODY'S ACTING 



BETTY BRONSON. Ford Sterling. Louise 
Dresser, Lawrence Gray, Henry Walthall 
and Raymond Hitchcock. Directed by 
Marshall Neilan, 



WE'RE IN THE NAVY NOW 



Wallace Beery and Raymond Hatton. Di- 
rected by Edward Sutherland, 



BLONDE OR BRUNETTE 



Starring ADOLPHE MENJOU. With 
Greta Nissen and Arlette Marchal. Di- 
rected by Richard Rosson. 



GOD GAVE ME 20 CENTS 



Lois Moran. Lya dc Putti, Jack Mulhall. 
Directed by Herbert Brenon, 



Starring DOROTHY GISH. Directed by 
Herbert Witccx. 



''^ J^tnest i^ogo of the 

^^ea the ^creen 
-^as E'ver J^invn^* 
C\\ 1". Telegrafti 

R-\RE fine entertain- 
ment not to be missed." 
says the N.Y. Eve. World. A 
James Cruze Production 
from the storj' by Laurence 
Stallings. With Wallace 
Beery. Esther Ralston, Geo. 
Bancroft, Charles Farrell. 



THE CANADIAN 


Starring THOMAS MEIGHAN. Directed 
by William Bcaudine. 


LOVE "EM AND LEAVE 'EM Evelyn Brent, Louise Brooks. Lawrence 
Gray. Directed by Frank Tuttle. 


STRANDED IN PARIS 


Starring BEBE DANIELS. With James 
Hall and Ford Sterling. Directed by Ar- 
thur Rosson. 


Zane Grey's 

MAN OF THE FOREST 


Jack Holt. George Fawcett, El Brendel, 
Georgia Hale. Tom Kennedy. Warner 
Oland. Directed by John Waters. 


THE POPULAR SIN 


Starring FLORENCE VIDOR. With CUve 
Brook, Greta Nissen, Philip Strange. Andre 
Beranger. Directed by Malcolm St. Clair. 


LET IT RAIN 


Starring DOUGLAS MacLEAN. Directed 
by Eddie Cline. 


PARADISE FOR TWO 


Starring RICHARD DIX. With Betty 
Bronson. Directed by Gregory La Cava. 


THE POTTERS 


Starring W. C. FIELDS. Directed by 
Fred Newmeycr. 



FAMOUS PUVSfEBS-LASKY CORP., ADOLPH ZUKOH..PRES, NEW YORK 




,. Metropolis 




JA(Vm) York 

a ^ujidred 

Years 



A 



MYTHICAL 

metropolis a 
hundred jears from 
now as the setting for 
a gripping, human 
drama f An UFA Production, directed b}'- Fritz Lang. 

ABO\ E are two of many big Paramount productions 
■ of the coming season. These three and those in the 
chart you can see now or very soon. ^ our Theatre Man- 
ager will tell you when. 

Hotel Imperial 

^o/a C^e'gri's 
(greatest '^o/e 

NOW Pola Negri 
climaxes her 
screen career in this 
thrilling story of love, 
danger and sacrifice. 
Produced by Erich 
Pommer, from the 
5tory by Lajos Biro. 
Directed bv Mauritz 
Stiller. 

Harold Lloyd 

In Jiis Jjitest 
Qomedy 





"VTOBODY thought he amounted to much, so when 
■L^ his Father, the sheriff, leaves town, Harold puts 
on the badge — just to show 'em — and how he does is the 
funniest thing in years! Produced by Harold Lloyd 
Corporation. A Paramount Release. 

(^lara "Bow in \t 

(iAn Cl'inor Qlyn-Qlarerice "badger 
Introduction 

A SHOP girl wins her wealthy em- 
ployer! Why? Because she has 
"It"— the magnetic power that 
draws all men to you if you are a 
woman, and all women to you. if you 
are a man. Antonio Moreno is the 
leading man. 




I'lr.iTOPLAY MAGAZINC is euarantecd. 





Vy-^f 



''!-»ailv-:m^*i*.:j 







The World's Leading Motion Picture Publication 



PHOTOPLAY MAGAZINE 



JAMES R. QUIRK, Editor 



Vol. XXXI 



No. 3 



Contents 

February, 1927 



Cover Design: Louise Brooks 

From a Painting by Carl Van Buskirk 

Brief Reviews of Current Pictures 
In Tabloid Form for Ready Reference 

As We Go to Press 

Last Minute News from East and West 

Brickbats and Bouquets 

Frank Letters from Readers 

Rotogravure: New Pictures 

Lillian Gish, Claire Windsor. Greta Nissen, Phyllis 
Haver, Colleen Moore, John Roche 



Speaking of Pictures (Editorials) 



James R. Quirk 



10 
12 
19 

27 
28 

30 



How to Hold Your Youth Agnes Smith 

The First of a Series of Articles on This Present Day Problem 

When lOf! Was Big Money Frederick James Smith 

Excerpts from Richard Dix's Diary 

Up Speaks a Gallant Loser Agnes Smith 32 

John Gilbert Still Insists Greta Garbo Is a Wonderful Girl 

The Married Life of Doug and Mary 

Adela Rogers St. Johns 34 
The Most Successful L'nion in Filmland 

(Contents continued on next page) 



Published monthly by the Photoplay Pubushing Co. 

Publishing Office, 750 N. Michigan Ave., Chicago, III. 

Editorial Offices, 221 W. 57th SL, New York City 

The International News Company. Ltd.. Distribuiinir Agents. : Bream's Bnildine. London, Eneland 

James R. Quirk. President Robert M. Eastman. Vice-President and Treasurer 

Kathryn Dougherty. Secretary and Assistant Treasurer 

Yearly Subscription; S2.50 in the United States, its dependencies. Mexico and Cuba; 

$3.00 Canada; $3.50 to foreign countries. Remittances should be made by check, or postal 

or express money order. Caution — Do not subscribe through persons unknown to you. 

Entered as second.class maner April 24, 1912. at ttie Postoffice at Chicaeo. III., under tlte Act of March 5. 1879. 



Photoplays Reviewed in the 
Shadow Stage This Issue 

Save this vtagazine — refer to 
the criticisms hefore you pick out* 
your evenings entertainment. 
Make this your reference list. 

Page 52 ■ 

One Night of Love 

Goldwyn-United .\rtists 

Flesh and the Devil M.-G.-M. 

Old Ironsides Paramount 

Page ?? 

WaM Price Glor}' William Fox 

Lo^-e 'Em and Leave 'Em . Paramount 

Tuinkletoes First National 

Page 54 

Stranded in Paris Paramount 

The Flaming Forest M.-G.-M. 

The Eagle of the Sea Paramount 

The City Fox 

The Great Gatsby Paramotmt 

God Gave Me Twenty Cents 

Paramotmt 
Page 55 

Tin Hats i\Ietro-Cio!d\\"jTi-Ma3-er 

Ladies at Play First National 

\'alencia Jletro-Goldw-jm-Maj-er 

Just .\nother Blonde. . , First National 
The White Black Sheep , First National 

The Canadian Paramount 

Page 124 

For Wives Onlv Producers Dist. Corp. 

.\ Regular Scout F. B. O. 

The ISlonde Saint First National 

Page 12^ 

The Cheerful Fraud Universal 

Lone Hand Saunders F. B. O. 

Stepping .\long First National 

Sweet Rosie O'Grady Columbia 

The Canyon of Light Fox 

Red Hot Leather Universal 

Josselj-n's Wife Tiffany 

Page 126 

Wings of the Storm Fox 

Going Crooked Fox 

Prowlers of the Night Universal 

While London Sleeps. . . .Warner Bros. 

Rose of the Tenements F. B. O. 

Obey the Law Columbia 

Sin Cargo Tiffany 

Pals in Paradise . Producers Dist. Corp. 



CopyriBht, 1927. by the PHOTOPLAV PUBLISHING COMPANY. Chlcazo. 



Contents — Continued 

Old-time Courting and a Red Hot Date (Photographs) 36 

As Illustrated by May Allison and Charles Ray 

Does Rudy Speak from the Beyond? 

Frederick James Smith 38 
Natacha Rambova Tells of the Spirit Messages She Claims to Have 
Received 

The Truth About Breaking into the Mo\'ies 

Ruth Waterbury 40 
The Third of a Series of Articles by a Reporter in Hollywood as an 
"Extra" Girl 



K(sS>JI= 



='t<?3: 



The Lark of the Month 

No One Knows Harold Lloyd Without His Specs 

Illustrated by Frank Gmluin 



A Saga of the Sea (Photographs) 

The Real Valentino 

As Seen by S. George Ullman 

A Million and One Nights 

Terry Ramsaye's History of the Motion Picture 



CarohTi Van Wvck 82 



Friendly Advice on Girls' Problems 
The Department of Personal Service 

Questions and Answers 

The Girl on the Cover: Louise Brooks 

Casts of Current Photoplays 

Complete for Every Picture Reviewed in This Issue 

Addresses and ivorking programs of the leading picture 
studios will be found on page 106 



The Answer Man 
Cal York 



42 



Ivan St. Johns 43 



Cal York 44 



You Must Make Men Behave 

A Talk With Arlette Marchal 

Studio News and Gossip — East and West 
What the Screen Folk Are Doing 

Gloria Swanson (Photograph) 48 

Adam's Other Apple CFiction Story) Frank Condon 49 

A Love Story with Hollj^vood as a Background 

Illustrated hy R. Van Buren 

The Shadow Stage 52 

The Department of Practical Screen Criticism 

How to Reign When You Pour (Photographs) 56 

Wallace Beery at Afternoon Tea 

Mr. Nobody Ivan St. Johns 58 

The Man Who Has Lost His Identity — Lon Chaney 

Rotogravure: The Life of Christ in Pictures 59 

More Sinned Against Than Sinning Ruth Waterbury 63 

Lya de Putti Explains Her Blemished Present 

Start the Year with a Laugh 64 

It's Contagious. Try It! 

Alberta Vaughn (Photograph) 66 

Adonis of the Argentine Dorothy Spensley 67 

Barry Norton, the "Mother's Boy" of "What Price Glory" 

Buy on Fifth Avenue Through Photoplay's Shopping 

Service 68 

Let Experts Aid You with Your Wardrobe Problems 

Too Good to Be True 

Conrad Nagel Has Much to Live Down 



Dorothy Spensley 70 

74 
76 



81 



85 



138 



I 



The 

Port 

Missing 
Girls 

By 

Aclela Rogers 
St. Johns 

The first of a remark- 
able series of six short 
stories will appear 
in the March issue of 
PHOTOPLAY. No 
one knows Hollywood 
so completely as Mrs. St. 
Johns. These stories 
are taken from life. 

Hollywood ! 

That's the Port 
of Missing Girls 

What becomes of the 
thousands of beautiful 
and charming girls who 
seek glory and fortune 
in the movies? Mrs. St. 
Johns is going to tell 
you in 

Photoplay 

March Issue 

On the Newsstands 

February 15 

Q> e 



Photoplay Magazine — Advertising Sectiox 



Golden Hours with Greater FB Q, 



MIGHTY Epic of Boyhood — the Boy 
Scouts! With the Greatest of Western 
Stars and His Gallant Horse Racing With 
Love! Death! Vic- 




Vistribuud by 

GREATER 



% 



/(it Ouaid 
41 Cooke 

YOUTH in Love! At Play! On the High Road to 
Adventure! With Mary Brian! And the Booming 
Comedy of Al Cooke and Kit Guard — greatest comics 
on the screen! 

JOSEPH P. Kennedy presents 

mmm ' "->< H.C.WITWER'S Carnival of Comedy 

WeMather Said NO! 

Directed by JACK McKEOWN Adapted by AL BOASBERG 

From ihe H. C. Wittier Collier's Magazme Story "Charlocte's Ruse" 

Produced and Distributed by Film Booking Offices of America, Inc. 



When JOH «rite to advertisers pkase mention PHOTOPLAl" ilAGAZINE. 



Brief Reviews of Current Pictures 

indicates that photoplay was named as one of the six best upon its month of review 



ACE OF CADS, THE— Paramount. — Just missed 
being one of the six best. Menjou. Alice Joyce and 
Luther Reed's sane direction make it interesting. 
(December.) 

ACROSS THE PACIFIC— Warner Bros.— The 
old native gal was just as \-ampish in the days of the 
Philippine insurrection as she is today. You'll be 
bored to death. [December.) 

AMATEUR GENTLEMAN, THE^First Na- 

tionaL — It's not Dick Barthelmess at his best — but 
who gives a hoot about story or an>'thing else as long 
as we have Dick. (.Yor.) 

*BARDELYS THE MAGNIFICENT — Metro- 

GoldwTn-Mayer, — Vour season won't be complete 
unless you see this picture. It's safe enough for the 
children. John Gilbert and Eleanor Boardman head 
the cast- {Nov.) 

BATTLING BUTtER— Metro-Goldwyn-Mayer. 
— Here's an amusing number presented by Buster 
Keaton. Check this a must. (jVor.) 

*BEAU GESTE — Paramount. — Perdval Wren's 
best seller has been followed with fidelity. The 
screen's best myster>- stor\-. (.Vop.) 

BELLS. THE— Chadwick. — An old favorite with 
some real Barrjmore acting by brother Lionel. If you 
like heavy drama, here is your meat. {January.) 

BETTER MAN. THE— F. B. 0.— Richard Tal- 
madge with liis usual bag of tricks. That's all. 
iSeptembfr.) 

*BETTER *OLE, THE— Warner Bros.- Syd Chap- 
lin makes a picture which is to comedy what "The 
Big Parade" is to drama. It's the type of comedy 
that Cliarlie made, years ago. {December.) 

BIGGER THAN BARNUM'S— F. B. C— Here's 
the old circus formula again. Not good enough and 
not bad enough to create a stir. {September.) 

BLARNEY — Metro-Goldw>-n-Mayer.— K itwasn't 
for Renee Adoree this certainly would be a lot of 
blarney. {December.) 

BLUE EAGLE, THE— Fox.— A fair picture. 
iNos.) 

BORN TO THE WEST— Paramount.- Lives up 
to its name in exciting fashion without a thrill left out. 
A good Zane Grey Western. {September.) 

BREED OF THE SEA— F. B. O.— Be sure to see 
this fascinating, romantic and adventurous sea taie. 
{December.) 

BROKEN HEARTS OF HOLLYWOOD— War- 
ner Bros. — It's just as bad as it sounds. (December.) 

BROWN DERBY. THE— First National. — Good 
light entertainment for those who prefer the sudden 
loud laugh to the slow smile. {.August.) 

BUCKING THE TRUTH— Universal.— A story 
of the great West with quite some riding and excite- 
ment. Pete Morrison is the star. {August.) 

CAMPUS FLIRT. THE— Paramount.— Not to be 
outdone by the football heroes. Bebe Daniels shows 
the feminine side of college life in a neat running suit. 
Amusing. ^.December.) 

CHASING TROUBLE— Universal.— Just West- 
em hokum. (.4 ugust.) 

CLINGING VINE. THE — Producers Dist. Corp. 
— A goofy plot, trite and tedious. {September.) 

COLLEGE BOOB, THE— F. B. O.— Lefty Flynn. 
in a popular college football affair. It will please the 
youngsters. {October.) 

COLLEGE DAYS — Tiffany. — Once again the day 
is saved for dear old Alma Mater on the football field. 
But isn't it about time to desert football for chess? 
{January.) 

8 



COUNTRY BEYOND, THE— Fox.— Another of 
James Oliver Curwood's stories of the great North 
makes good screen material. {December.) 

COWBOY COP, THE— F. B. O.— Don't miss the 
delightful combination of Tom Tyler and Frankie 
Darro. They're good. {October.) 

DANGEROUS DUB, THE— Associated Exhibi- 
tors. — Buddy Roosevelt does some hard, fast riding — 
with little else to recommend. O. K. for the kiddies. 
{September. ) 

DEAD LINE. THE— F. B. O.— Stay home. This 
is terrible. {September.) 

*DEVIL HORSE. THE— Pathe.— -^ picture that is 
worth your money. A family picture — one that we 
recommend. {Aususl.) 



AS a special service to its readers, 
Photoplay M.agazine inaugu- 
rated this department of tab- 
loid reviews, presenting in brief form 
critical comments upon all photoplays 
of the preceding six months. 

Photoplay readers find this depart- 
ment of tremendous help — for it is an 
authoritative and accurate summary, 
told in a few words, of all current film 
dramas. 

Photoplay has always been first 
and foremost in its film reviews. 
However, the fact that most photo- 
plays do not reach the great majority 
of the country's screen theaters until 
months later, has been a manifest 
drawback. This department over- 
comes this — and shows you accurately 
and concisely how to save your mo- 
tion picture time and money. 

You can determine at a glance 
whether or not your promised eve- 
ning's entertaiimient is worth while. 
The month at the end of each tabloid 
indicates the issue of Photoplay in 
which the original review appeared. 



DEVIL'S ISLAND— Chad wick. — At least we can 
recommend the performance of Pauline Frederick, 
The rest of the picture is the bunk. {October.) 

DIPLOMACY— Paramount. — Sardou's play had 
its face lifted by Marshall Neilan — unsuccessfully. 
{Nov.) 

*DON JUAN— Warner Bros. — A picture that has 
great acting, thrilling melodrama and real beautj . 
With the Vitaphone. a real film event. {October.) 

DUCHESS OF BUFP.\LO. THE— First National. 
— Connie Talmadge in a brisk, racy and lightly amus- 
ing farce. {Oclober.) 

ELLA CINDERS — First National. — Colleen 
Moore breaks into the movies in this enjo>*able Cin- 
derella stori'. Take the children. (.August.) 

♦EVERYBODY'S ACTING— Paramount.-A 
great cast, an entertaining storv' and some of Mickey 
Neilan's happiest direction. A refreshing and amus- 
ing tale of stage life. (January.) 



EXIT SMILING— Mctro-Goldw>-n-Mayer.— A 

comedy story that fails to "jell." Plus Beatrice Lillie. 
a stage cut-up. who fails to register. Sorn". (Jan.) 

FAMILY UPSTAIRS. THE— Fox.— Take the 
whole family to see this enjoyable picture. (Oct<^er.) 

*FAUST— UFA-M.-G.-M.— An extraordinary 
adaptation of Goethe's poem, with Emil Jannings as 
Mephislo and Camilla Horn as Slarguerite. Miss 
Horn runs away with the picture. It's a fine achieve- 
ment. {January.) 

*FIG LEAVES — Fox. — A slender little stori" built 
around a gorgeous fashion show filmed in colors. 
Olive Borden runs away with the picture. (Sept.) 

FINE M.\NN^RS— Paramount. — Gloria Swanson 
is delightful in one of those roles she does so perfectly 
— that of a shabby working girl who loves devotedly. 
{October.) 

FLAME OF THE ARGENTINE. THE— F. B. O. 

— A change of scenerj' is about the only new thing in 
Evelyn Brent's latest. (September.) 

FLAME OF THE YUKON. THE— Prod. Dist. 
Corp. — A magnetic story of the adventures of the gold- 
seekers in the far North. Only for the big folks. 

{.August.) 

FOOTLOOSE WIDOWS— Warner Bros.— How to 
win a millionaire husband — according to the movies. 
This belongs in the "quite interesting" list. (Sept.) 

FOR .\LIMON'> ONXY— Producers Dist. Corp.— 
A light sophisticated domestic comedy for grown-ups. 

(December.) 

FOREVER AFTER— First National.— All the in- 
gredients of a box-office picture — sweet girl and boy 
romance, football and war. Passable. (December.) 

FOURTH COMMANTSMENT, THE— Universal. 
— Cast your eagle eyes over the pictures we recom- 
mend and forget that such a thing as this was ever 
produced. (December.) 

FRONTIER TRAIL, THE— Pathe.— A red- 
blooded Western with Harrv' Carey. If you like swift 
melodrama you are sure to like this one. (August.) 

GAY DECEIVER. THE— Metro-Gold w\n-Mayer. 
— Plenty of glitter of the Paris variety in this enter- 
taining piece. (A'oc.) 

GENTLE CYCLONE, THE— Fox.— Not up to 
the standard of the usual Buck Jones feature. (Au- 
gust.) 

GIGOLO— Producers Dist. Corp. — Rod La 
Rocque's fine performances rescue this from the 

hokum class. (December.) 

GLENISTER OF THE MOUNTED— F. B. O — 

Leftv Flvnn in an .Arthur Guy Empey stor\- of the 
Mounted Police. The same as the othtr 6,462. 
(.August.) 

GOOD AND NAUGHTY — Paramount.— A flip- 
pant farce comedy with Pola Negri. Ford Sterling and 
Tom Moore. Sterling steals the picture. (August.) 

GREAT DECEPTION. THE— First National.— 
This is sadly lacking in enterUinment value. The 
secret-service again. (October.) 

GRE.-VT K & A TRAIN ROBBERY. THE— Fox. 

— .\ fast and furious Tom Mi-x pictiu-e. Need more be 
said? (December.) 

HANDS ACROSS THE BORDER— F. B. O.— 

Fred Thomson and Silver King make this an interest- 
ing picture. {.August.) 

HER BIG NIGHT— Universal. — Some inside dope 
on the movies. Quite interesting. (Nos.) 

HER HONOR THE GOVERNOR— F. B. C— 

Pauline Frederick and Carroll Nye waste masterly 
performances on celluloid claptrap. Their work is 
worth seeing, but the film itself is a disappointment. 
(October.) [ CONTINUED ON PAGE 14 1 



Photoplay Magazine — Ad\ertisixg Section 



To Men Gettii^ Bald 
I Say/ 



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New York City 

Please send me without cost or obligation a 
copy of your book, "The New Way to Grow 
Hair." describing the Merke System. 



I City 



When you write to advertisers please menlion rHOTOPLAT MAG.XZIXB. 



Last Minute Tsie w s fr om East and We s t 




v^re go 





to Iress 



FAMOUS PLAYERS sign Dorothy Arz- 
ner, the girl who cut "The Covered 
Wagon," and "Old Ironsides," to 
direct. Miss Arzner will be Paramount's 
first woman director, besides being the 
first woman to become a director in ten 
years. 

LYA DE PUTTI has gone to Hollywood 
to appear under Erich Pommer's su- 
pervision. 

GILDA GRAY starts work in New York 
on "Cabaret," an original story of the 
Manhattan cabarets. Robert Vignola is 
directing. 

HAVING invaded the navy and the 
army, Wallace Beery is going to do a 
comedy of the air, with airplanes and para- 
chutes as co-features. 

RAOUL WALSH selected to direct Wil- 
liam Fox production of "Carmen," star- 
ring Dolores del Rio. 

NORMA TALMADGE is well along on 
her modernized version of "Camille," 
with Gilbert Roland as 
Arntand, LiUyan Tash- 
man as Olympe and 
Rose Dione as Prudence. 
Fred Niblo is directing. 

CONNIE TALMADGE 
is going to make "Her 
Social Secretary," once 
filmed with sister Norma 
as its star. 

THERE'S a boy in the 
Fred Thomson-Fran- 
ces Marion home. 

VIRGINIA VALLI to 
play opposite Adolphe 
Menjou in "Evening 
Clothes." 



RAYMOND GRIF- 
FITH and his sUk hat 
are working in a comedy 
with the enticing title ot 
"Beautiful Women." 

A N OTHER change in 
•'^the title of Warner 
Brothers' version of "Ma- 
nonLescaut,"starringJack 
Barrymore. First they 
called it "Manon." Now 
it's "When a Man Loves !" 

"PD WYNN is making 
-•-'his film debut in "The 
Perfect Fool." 

10 



RUMORS about Corinne Griffith and a 
new contract with United Artists con- 
tinue. It is said that Miss Griffith starts 
with United Artists in March at $13,000 a 
week. It is said, also, that First National, 
Corinne's old boss, may oppose the move. 
Anyway, Corirme Griffith and her husband, 
Walter Morosco, are now on a vacation in 
Europe. 

TWTETRO-GOLDWYN wUl follow its new 
-^'-••success, "The Fire-Brigade," with a 
film glorifying the activities of the poUce 
department. And now will someone come 
along with a story about the heroes of the 
revenue service? 

XJERBERT BRENON may go to England 
^ ••■to film "Sorrell and Son" for Para- 
mount. 

QUALITY STREET" probably will be 
the Marion Davies picture to follow 
"Tillie the Toiler." 

T ILLIANGISH was a visitor to New York 
-•— ' recently. She returned to the Coast to 
begin work in "The Wind," under the di- 
rection of Clarence Brown. 




D. W. Griffith — back in California, scene of his early 
triumphs, after a seven years' absence. With him is 
Seena Owen, a Griffith discovery of Fine Arts days 



A NTONIO MORENO saUs for England 
•**-to play opposite Dorothy Gish m a Brit- 
ish film. 

■p AMON NOVARRO'S forthcoming "Old 
-•■^Heidelberg," directed by Ernst Lu- 
bitsch, looks highly promising. Jean Hers- 
holt will be the beloved old tutor. Dr. Zutt- 
ner, and Chester Conklin will be Kellerman. 
The role of Katie rests between May Mc- 
Avoy, Fay Wray, Marceline Day and Norma 
Shearer. 

■p\ W. GRIFFITH made a flying trip to 
"•-^•California. Now comes the fairly defi- 
nite report that Griffith will produce again 
for United Artists and that Carol Dempster 
will continue as his star. 

METRO-GOLDWYN re-signs Aileen 
Pr ingle. 

"LJAL ROACH has signed Stan Laurel, the 
-•• •••comedian, under a long term contract. 

TVAN MOSKINE, the Russian actor, has 
-•■reached Universal lot to start work. First 
to be "Moscow." 

■pVA NOVAK returns 
-•-'from six months in 
Australia and Tasmania. 
Has been working in an 
Australian film, "For the 
Term of His Natural 
Life." 

"\A/ITH an unexpected 
^* shift in Alaskan 
weather, indicating that 
the big thaw will come 
earlier than usual, Metro- 
Goldwyn is rushing pre- 
liminary work on "The 
Trail of '98," the IQondike 
story to be directed by 
Clarence Brown. 

BETTY COMPSON 
signed by Chadwick 
Pictures for a series of 
pictures. 

JACK HOLT'S five-year 
contract with Famous 
Players expiring. Holt is 
likely to go with another 
company. 



TOIS MORAN 
-•—'sneaked off for a 
month's vacation in Swit- 
zerland. She is back home 
now and will play in 
"Soimdings" for Para- 
mount. 



Photoplay Maoazine — Adveutising Section 



II 




Suppose It Were Against The Law To Laugh! 



SUPPOSE you didn't dare to laugh! Suppose that a 
good, hearty laugh would land you in j ail ! Absurd, 
you say, to have a law against laughing ? Of 
course. You can't stop people from laughing — and no 
one wants to. 

Which leads us to inquire — How 
much do you laugh? Do you laugh 
as you used to when you were a 
child? Do you get at least one good 
laugh every day? If not, you're 
missing the greatest tonic in the 
world. The one thing which, more 
than anything else, would keep 
you young. 

So, if you've got the blues — or 
the cook has left without notice — 
or there's another installment due 
on the radio — or your fiance has 
lost his job — forget about it — and 
laugh! 

It's easy. All you have to do is 
to grab your hat — and see one of 
Educational' s Comedies. You'll 
enjoy a whole flock of laughs, and 
your troubles will melt away like 
mist in the morning sun. 



ROMANCE PRODUCTIONS 

(jn Natural Colors) 

HAMILTON COMEDIES 

LUPINO LANE COMEDIES 

BOBBY VERNON COMEDIES 

BILLY DOOLEY COMEDIES 

JIMMIE ADAMS COMEDIES 

MERMAID COMEDIES 

(.Jack White Productions') 

CHRISTIE COMEDIES 

JUVENILE COMEDIES 

TUXEDO COMEDIES 

CAMEO COMEDIES 

LYMAN H. HOWES HODGE-PODGE 

FELIX THE CAT CARTOONS 

ROBERT C. BRUCE SCENIC NOVELTIES 

CURIOSITIES LIFE 

The Movie Side-show Cartoon Comedies 

KINOGRAMS 
The NEWS REEL Built Like a Newspaper 



Educational' s Comedies lead the field. You'll 
find them in the largest motion picture houses — and 
the smallest. Millions of people in this country alone 
see them — and laugh over them — every day. 

Neither time, talent nor money has ever been spared 
in making Educational' s Com- 
edies the best that could be pro- 
duced. For clean, wholesome fun 
they are unrivaled. 

Educational' s supremacy in the 
Short Feature field does not end 
with comedies. It includes all those 
features for which Educational is 
famous— news reels, novelties, scenic 
pictures of rare beauty, and the ex- 
quisite Romance Productions in nat- 
ural colors. You will enjoy them all. 



(TScic 






THE SPICE OFTHE PROGRAM" 



January has been designated by the 
motion picture industry as "Laugh 
Man th." Jn consequence, thea tres 
everywhere are cooperating by featur- 
ing comedies of unusual merit. Join 
in the fun. Treat yourself to a good 
hearty laugh. And because laughs are 
meant to be shared, take along the 
whole family! 

EDUCATIONAL FILM EXCHANGES, Inc. 

E. W Mammons. President 

Executive Offices 

370 Seventh Ave.. New York. N. Y. 



Wlii'ii you nrito to advertisers please mention PHOTOPLAY MAGAZINE. 



The Real Critics, the Fans, Give Their \/^iews 





Brickbats and Bouquets 



LETTERS from 

PHOTOPLAY READERS 



Three prizes are given every month 
/or the best letters— $25, $iodnd$5 



The Monthly Barometer 

THERE is decidedly a new development and 
ihatisthat thereisanewmovie hereabout — 
none other than the well-known galloping ice- 
man. "Red" Grange. The fans are clamoring 
about "Red" and asking to see more of him. 
Stepping out of character for a moment, we 
beg to announce that if all comes forth as 
promised, "Red" will be making a new 
flicker by the time this reaches print. So, let 
not your hearts be troubled. 

The Valentino letters are still pouring in, 
great sadness written into each one of them. 
A kind fan sent us a clipping from London 
with the court findings concerning the girl who 
was reported to have shot herself over Rudy. 
The court proved Rudy's complete innocence 
in the matter, as is told elsewhere in this issue 
of Photoplay. 

"The Three Bad Men." with George 
O'Brien, is winning much praise. Gloria 
Swanson's last picture, "Fine Manners,'' 
seems to be much better liked than any other 
of her recent releases. John Gilbert's "Bar- 
delys the Magnificent" is also coming in for 
high approval. Of the producers more com- 
edies and better stories are requested. 

Lon Chaney still holds his high position of 
not receiving a single brickbat. Close to him 
in the same praise class come Lloyd Hughes 
and Harrison Ford. 

$25.00 Letter 

College \'iew, Xeb. 

When the babies have cried all day and the 
cake has fallen and I'm so tired and cross I 
could weep, then the joy to sink down into a 
deep, deep theater chair at the movies and lose 
my real self for an hour or two! Heaven 
was never so near as this! 

I hear all the evWs of the age, dancing, 
smoking, petting, loose morals, laid to the 
movies, but I do not believe movies are a 
menace. I believe they are a priceless help. 
Faults they have, but I have ne\er sat through 
a movie, however bad, but I could find some 
enjoyment in it. 

To me the movies are the way out from the 
humdrum monotony of the commonplace. 

I believe there are many millions of people 

12 



The readers of Photoplay are in- 
vited to write this department— to 
register complaints or compliments — 
to tell just what they think of pictures 
and players. We suggest that you 
express your ideas as briefly as pos- 
sible and refrain from severe per- 
sonal criticism, remembering that the 
object of these columns is to exchange 
thoughts that may bring about better 
pictures and better acting. Be con- 
structive. We may not agree with the 
sentiments expressed, but we'll pub- 
lish them just the same! Letters must 
not exceed 200 words and should 
bear the writer's full name and ad- 
dress. Anonymous letters go to the 
waste basket immediately. 



who watch a picture with a definite feeling of 
detachment. They step into that picture as 
into another world and for a delightful all- 
too-short time, they play at the intriguing 
game of make-believe. 

For myself, always. I am "the girl." the hero 
mj' lover, the boy of my sweetheart days. My 
present surroundings are forgotten. Jly hus- 
band goes with me. He likes thrillers. I like 
romance. Thrillers for men. Romance for 
women. How wonderful the movies are. 
because in them we see portrayed the things 
we would secretly like to do, the people we 
would secretly like to be. 

Helen Brooks. 

$10.00 Letter 

San Francisco, Calif. 
I have been wondering about what seems to 
me a most illogical state of affairs. Lately one 
reads so much about the tremendous artistic 
superiority of European made films over those 
of the U. S. It seems that Germany, in partic- 
ular, occupies the position of a calmly amused 
grown-up enjoying the antics of a giddy child 
(the U.S.). 



Xow, for one thing, if this is true, why the 
Foreign Invasion? Why did Pola Negri, 
Vilma Banky. Greta Garbo and Greta Nissen 
I to mention just a few of the many) leave the 
studios of Europe? 

.\t least half of the Hollywood directors are 
foreigners, men who seem to understand the 
value of artistic success. Surely they would 
not have come here, if they, too, believed that 
American films are all cut from the same pat- 
tern, all bedtime stories punctuated with bed- 
room scenes and adorned with hugely impos- 
sible sets. 

Xo. It is impossible. These people are too 
intelligent to have come here unless hoping 
to better themselves. Our "Broken Blossoms," 
■' The Four Horsemen," " The Covered 
Wagon," and "Ben-Hur" are not quite devoid 
of truth, of subtleties, of beautiful, tragic life. 
Florence Nicolai. 

$5.00 Letter 

Los Angeles, Calif. 

Esther Ralston cited for stellar honors, and 
we sigh. Selfish? Perhaps. But after Miss 
Ralston's notably fine work in her recent pic- 
tures we would be the losers did she follow the 
lead of so many of her cinema sisters whose 
idea of stardom is, that having attained it, all 
further efforts automatically devolve upon: 
"MY press-agent, MV manager, MY director, 
MY costumer." 

Too often have we seen promising young 
actresses, after having achieved stardom, lapse 
into a state of deadly indifference, arousing 
themselves only long enough to demand all of 
the worth while scenes which, very inconsistent- 
ly, they made no efforts to act up to. 

Xo real artist ever achieves, to her own satis- 
faction, that which her art seems capable of 
giving. For art, cunning task-master, ever 
beckoning, ever receding, leads to greater and 
greater endeavor those whom he calls his own. 

So we hope that as a star j\Iiss Ralston, as an 
e.Nample to all the Httle starlets, will not disap- 
point us by writing "finis" to her artistic 
efforts, but that she will keep up her good 
work, her enthusiasm, her ner\e, and continue 
to give us stirring peformances of real live 
heroines. G. A. Higgins. 

[ CONTINUED ON PAGE 8S j 



Photoplay Magazine — Advi;utising Section 



13 



This Singular Book Wields a 
Strange Power Over Its Readers 

Giving them a MAGNETIC PERSONALITY almost instantly/ 




Will You Read It 5 Days FREE— to Prove It 
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A copy of this book was left lying on a 
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Jlore than 200 of his patients saw the 
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Why are men and women so profound- 
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RALSTON UNIVERSITY PRESS 
Dept. 9-B, Meriden, Conn. 

All right — I'll be the judge. You may send me the 
volume ■■ Instantaneous Personal Magnetism " for 5 days' 
FREE EXAMINATION in my home. Within the 5 
days I will cither remit the special low price of only S3.00, 
in full payment, or return it without cost or obligation. 

Name 



Address. 
City 



.SUte. 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 




PlIUTUPLAY MaGAZINK — AOVICHI ISINU SECTION 



Brief Revie^vs of Current Pictures 

1 CONTINUED FROM PAGE 8 ] 



Can You Fix It? 

Repair any auio tauli. loam how XOW, You c-an do It 
easily In this new simple way. 

These FIVE lilc Books are up to the minute on auto- 
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"NO MONEY" OFFER 

Ad amazing new plan o! distribution brings these books 
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ing more to pay us. If you send XOW we will include 

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liefererue 

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PREPARE FOR AN 




—thru the on /y school operated as a 
department of a large art organiza- 
tion. Commercial Artists trained 
the "Meyer Both Way" cam as high 
as $10,000 per year. We today have 
hundreds of students who had pre- 
viously studied in other art schools. 
Why? Because your instruction is 
based upon our even-day experi- 
ence in meeting the art "needs of 
leading advertisers. Home study 
instruction. Write for illustrated 
book telling of the success of our 
students. 

MEYER BOTH COMPANY 

Michigan Ave. at 20th St., Dept. 31, Chicago, 111. 




PEDODJNE. the marveloa. nt^ SolTent^anlsb., 



SENT ON TRIAL 

irt, 1 win cUdlf •■- 

_..tto try. Simpir wrilji 

«□<! au. 1 wuiciourPEDUDYNE." Addrcss- 

KAY LABORATORIES Dept. B161 

ISe H. LaSallo St. Chiuco, Illinois 



HIDDEN WAY. TIIE— Associated Exliibitors.— 
Another weepy affair that isn't worth the famous two- 
bits. {October.) 

HIS NEW YORK WIFE— Bach man. —We 11. it 
seems there was a little country girl who came to New 
York to liRht for success — ta, ta! There's more plot 
than entertainment in this one. {January.) 

HOLD THAT LION— Paramount.- The usual 
Douglas MacLean farce. Fair. (A'or.) 

HONEYMOON EXPRESS. THE— Warner Bros. 
— Some more carryings-on of the younger generation. 
It's not so bad. (Oclohcr.) 

♦HOTEL IMPERIAL — Paramount.— j\t last Pola 
Negri has an unqualiiicd success. Credit her new 
dircctor.Mauritz Stiller, with an assist. It's the story 
of an incident between the Austrian and Russian lines 
during the war. Highly recommended. (January.) 

ICE FLOOD. THE— Universal.- Don't waste any 
precious moments on this. (A'ot.) 

INTO HER KINGDOM— First National.- Don't 
waste your money on this atrocity filled with flowery 
subtitles, stupid symbolism, bad photography and 
commonplace direction, (Oclober.) 

IT MUST BE LOVE— First National.— A light 
bit of nonsense. .A good cast — Colleen Moore, Jean 
Hersholt and ilalcolm MacGregor. iOcl.) 

IT'S THE OLD ARMY GAME— Paramount.— 
W. C. Fields is disappointing as starring material. 
His comedy — fair. (September.) 

JADE CUP, THE— F. B. O. — Do you know your 
movies? Tiien you know what to expect from Evelyn 
Brent. It will pass. (September.) 

KICKOFF, THE— Excellent Pictures.— A splen- 
did football picture featuring George Walsh and 
Lelia Hyaras. {Nov.) 

*KID BOOTS— Paramount. — Eddie Cantor brings 
a new face to the screen. And such a face! As slap- 
stick, this film is ver\- funny — and too. it has Clara 
Bow as a shining light. (December.) 

KOSHER KITTY KELLY— F. B. C— The funni- 
est of the carbon copies of "Abie's Irish Rose." 
(December.) 

LAST FRONTIER. THE— Prod. Dist. Corp.— 
Here is another and feeble version of "The Covered 
Wagon" plot, with the long trek over the plains, the 
buffalo stampede, the rascally redskins, the battle and 
the brave young hero. (October.) 

LEW TYLER'S WIVES— Preferred Pictures.— If 
you're serious minded, this faithful screen version of 
Wallace Irwin's uncompromising story of a weak man 
whom three loved will interest you. It's too adult for 
tlie children. {September.) 

LILY, THE— Fox.— The sisteriy love stuff pre- 
sented in a weepy manner. Yep. Belle Bennett sobs 
throughout the entire piece. Fair. (December.) 

LONDON — Paramount. — Rags to riches in the 
London slums, played by Dorothy Gish, Filmed in 
England. Come on home. Dorothy. (January.) 

LOVE THIEF, THE— Universal.— The marriage 
of convenience is dressed up in royal garments with 
Norman Kerry and Greta Nissen in the royal robes. 
Passable. (Augttst.) 

LOVE'S BLINDNESS— Metro- Gold w>n-Mayer. 
—Written, supervised and dominated by Elinor Glyn. 
The old stuff with a change of names and Pauline 
Starke as the owner of IT. (January.) 

LOVEY MARY— Metro-Gold«Tn-Mayer. — The 
famous "Cabbage Patch" does not provide good 
screen material. It's harmless and we'll guarantee it 
won't overtax the mentality of The Tired Business 
Fan. (.August.) 

LUCKY LADY, THE — Paramount. — Could you 
think of a better way to spend an hour tl.an gazing at 
the fair Greta Nissen and William Collier, Jr.-, forming 
tlie love interest in this wholly effective melodrama? 
(September.) 

MAGICIAN, THE— Metro- Gold wi-n- Mayer.— 

Rex Ingram messes around with some more weird 
characters and with some weirder emotions. Except 
for Alice Terry, a foreign cast. (January.) 

MAN IN THE S.\DDLE, THE— Universal .— 
Hoot Gibson always proves himself a iiero all the 
timo. You can always depend on Hoot it you're in the 
mood for a Western. (Seplember.) 

MAN OF OU.\LITY. A— Excellent Pictures.— A 
good my.^i.Tv \arn with George Walsh. (December.) 

♦MANTRAP- Paramount, — Clara Bow's excellent 
performance makes the film version of Sinclair Lewis' 
latest novel good entertainment. (September.) 



*M.\RRIAGE CLAUSE. THE— Universal.— One 
of the most appealing stories of life across the foot- 
lights. Billie Dove gives a splendid performance. 
(.August.) 

MARRIAGE LICENSE? — Fox— The tear ducts 
will be let loose in this weepy affair. Alma Rubens' 
performance is worth seeing. (Nov.) 

MEET THE PRINCE— Producers Dist. Corp,— 
Not much of a picture, this. Don't waste your time. 
(September. ) 

♦MEN OF STEEL— First National.— Don't miss 
this interesting picture that has the sweeping back- 
ground of a huge steel mill in operation. It is a whole 
picture of good performances. (September.) 

MICHAEL STROGOFF— Universal.- A spec- 
tacular Russian importation that cannot be compared 
with the recent successful foreign pictures. Passable. 
(Nov.) 

MIDNIGHT KISS. THE— Fox.— A nice little 
movie with a nice little plot well enacted by a nice 
little cast. (October.) 

MIDNIGHT LOVERS— First National.— Proving 
that Lewis Stone can be as funny as any of the comics. 
In spite of the cheap title, there are a lot of clever 
moments in this picture. (January.) 

MILLIONAIRES— Warner Bros.— More Ghetto 

stuff and more tenth-rate hokum. Stick to the 
Vitaphone, boys! (January.) 

MISMATES— First National.- The cast is the 
only interesting thing: Doris Kenyon, Warner Bax- 
ter and May Allison. The story is the bunk. (Oct.) 

MISS NOBODY— First National.- Another eJC- 
ample of a good story gone wrong. If you can think 
of anytliing else to do. pass this up. (August.) 

MORAN OF THE MOUNTED— Rayart.— The 

title tells the story. Reed Howes makes it quite 
interesting. (October.) 

MORE PAY LESS WORK— Fox.— Splendid en- 
tertainment. Need more be said? (September.) 

MY OFFICI.\L WIFE— Warner Bros.— Terrible 
cheap sex stuff — we don't even recommend it for the 
older folks. (December.) 

MYSTERY CLUB, THE— Universal.— If you like 
your movies thrilling and chilling don't overlook this. 
(December.) 

♦NERVOUS WRECK, THE — Producers Dist. 

Corp. — The easiest way to spend an evening. Thor- 
oughly amusing. (Nov.) 

NO M.^N'S GOLD— Fox. — A good Tom Mix pic- 
ture — what more could be said? (October.) 

OH. BABY — Universal. — A lot of fun for ever>'- 
body. (October.) 

♦ONE MINUTE TO PLAY— F. B. O.— Red Grange 
is a real screen personality in this football picture — 
the verv spirit of youth and good sport. It's a gem. 
(October.) 

OUTLAW EXPRESS. THE— Pathe.— Of all 
things! A Western story about bad men, sheriffs and 
sheriff's daughters in the great open spaces! (Jan.) 

♦PADLOCKED — Paramount. — Superior entertain- 
ment. Honest, mature drama, in its presentation of 
a young girl's hfe nearly ruined by the severity of 
hypocritical morality. (August.) 

PALS FIRST — First National. — Don't be annoyed. 
(October.) 

PARADISE— First National. — This isn't worth a 
dime unless you're keen about Milton Sills and 
Betty Bronson. (December.) 

PARIS — Metro-Goldw^-n-Mayer. — Leave before 
the last reel and you will find this an absorbing tale of 
love. Charles Ray, Joan CraAvford and Douglas Gil- 
more are in the cast. (August.) 

PLEASURE GARDEN, THE— Aywon.— -A for- 
eign picture. And "can they make wiener schnitzels? 
Yes. they can make wiener schnitzels." Two .Ameri- 
can girls — Virginia Valli and Carmelita Geraghty — 
got in this one by mistake. (January.) 

POKER FACES — Universal. — Edward Horton. 
the director, and cast try desperately hard to be aw- 
fully funny with a disastrous result. (September.) 

PRINCE OF TEMPTERS— First National.- So 
much camera artincss that the humanness is over- 
looked. Lya de Pulti is the worid's worst vamp. 
(December.) 

PRIVATE IZZY MURPHY— Warner Bros. — 
Abie's Irish Rofc joins the Big Parade of War Pic- 
tures, and the result is nobody's busmess. George 
Jesscl's film debut is just so-so. (January.) 
[ COXTIXX."ED ON PAGE l6 ] 



Every advertisement in mOTOrL.W MAG.\Z1XE is guaranteed. 



Photoplay Magazine — Advektising Section 



15 




GIVEN 

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To Introduce this new 
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Photoplay Magazine — Advertising Section 



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y 



Brief Reviews of 
Current Pictures 



[ CONTIKUED FROM PAGE I4 ] 



PUPPETS — First National, — You won't go wrong 
on this, .^n interesting vehicle because (and we're 
glad to saj- it) of the fine performance of Milton Sills. 
(September.) 

"QUARTERBACK, THE— Pararaoiint.— Richard 
Dix in a real football classic. It's a WOW, (.Dec.) 

RANSON'S FOLLY— First National,— Richard 
Bart hcl mess in just another movie — that's all. 
(August.) 

RED HOT HOOFS— F. B. 0.— A ■■Western' with 
a real story and a sense of humor. Tom Tyler and 
FrankJe Darro are featured. (Jajtuary.) 

*RETURN OF PETER GRIMM, THE— Fox,— 

An effective translation of a charming stage success, 
witli \oimg Janet Gav-nor contributing some fine 
acting. (January.) 

RISKY BUSINESS— Producers Dist. Corp.— 
Trite can be marked against this one. (Nov.) 

*ROADTO M AND ALA Y. THE— Mctro-Gold«Tn- 
Ma\-er- — It's not the story but Lon Chaney's fine per- 
formance that puts the ginger in this cookie. (Sept.) 

ROMANCE OF A MILLION DOLLARS, A— 

Bachman. — You'll like this — if you aren't too fussy, 
(October.) 

RUNAWAY EXPRESS, THE— Universal.— 
Nothing like the good old-fashioned railroad melo- 
drama. This is worth-while. (October.) 

RUSTLER'S RANCH— Universal.— The usual 
Art Acord stuff that the children like. (August.) 

SAVAGE, THE— First National.— An insult to the 
human intelligence to think such a story is plausible, 
Ben Lyon and May McAvoy are in the cast. (Oct.) 

*SAY IT AGAIN— Paramount. — A grand and glori- 
ous tee-hee at all the mythical kingdom yarns. 
Good stuff. (August.) 

*SCARLET LETTER. THE— Metro-Goldwyn- 
Mayer. — Hawthorne's classic and sombre study of 
the New England conscience has been just as som- 
berlv translated to the screen. For the older folks, 

(October.) 

SEA WOLF, THE~Producers Dist, Corp.— A 
thriller — taken from tiie famous Jack London story. 
It's rouRh and ready, as are most sea stories, but 
darned good, (September.) 

-Intro- 
Better 



SENOR DARE-DEVIL— First National.- 
ducing Ken Maynard as a First National star, 
than most Westerns. (September.) 

SHAMEFUL BEHAVIOR— Bachman.— Shame- 
ful behavior to any audience that is coaxed into seeing 
this onel (January.) 

SHIPWRECKED — Prod. Dist. Corp.— If you 
haven't been sleeping lately try this on your in- 
somnia. Terrible. (A ugusl.) 

SHOW-OFF, THE— Paramount. — An amusing 
study of a smart aleck, played broadly but expertly 
by Ford Sterling, (Nov.) 

*SILENCE— Prod. Dist. Corp.— The finest raelo- 
dram.i that the screen has shown for years. Only for 
adults. (August.) 

SOCIAL HIGHWAYMAN, THE— Warner Bros. 
— This purports to be a comedy but it's a tragedy and 
vice versa. Don't be annoyed, (August.) 

*SON OF THE SHEIK, THE— United Artists.— 
Rudolph Valentino's last effort before the silver 
scT'-en. He was the old Rudy again and Ins work 
ranked at the top of the best performances of the 
month. Lon^ will this picture remain in the memory 
of tliose fortunate enough to see it. (October.) 

*SORROWS OF SATAN— Paramount.— Marie 
Corelli's novel, a shocker of thirty years ago, makes 
real old-fashioned cinema "melodrammer." Carol 
Dempster, Adolphe Menjou and Ricardo Cortcz are 
excellent. (December.) 

*SO THIS IS PARIS— Warner Bros.— Another 
variation of the domestic infidelity theme presented 
by the sophisticated Ernst Lubitsch. The weakest of 
the famous director's efforts to date. (September.) 

SO'S YOUR OLD MAN— Paramount.— An amus- 
ing tale of a disreputable small tounier who becomes 
the pal of a haughty visiting princess. W, C. Fields 
and Alice Joyce make it worth your while. (Jan.) 

SPANGLES — Universal. — Romance under the Big 
Top. .Mso a murder thrown in, just to make it excit- 
ing. (January.) 

*SP ARROWS— United Artists.— Watching the an- 
tics of Mary Pickford and a bunch of other kids is a 
safe bet for an enjoyable evening. (August.) 
[ CONTINUED OX PACE I4I ] 

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More than a thousand pictures 
of photoplayers and illustrations 
of their work and pastime. 

Scoresof interesting articles about 
the people you see on the screen. 

Splendidly written short stories, 
some of which you will see acted 
at your moving picture theater. 

The trulh and nothing but the 
truth, about motion pictures, the 
stars, and the industry. 

You have read this issue of 
Photoplay, so there is no neces- 
sity for telling you that it is one 
of the most superbly illustrated, 
the best written and most 
attractively printed magazines 
published today — and alone 
in its field of motion pictures. 

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Department 7.B 

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and receive the next issue and 
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Department 7-B 
750 N. Michigan Ave^ CHICAGO 

Gentlemen: I enclose herewith $1.25 (Can- 
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Street Address . , 



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Photoplay Magazine — Advertising Section 



17 



10 Great Successes 

have paved the wa^ ^ 

to his HIT^HITS/ 



C.C.BURR 




Johnny Hiries 

"stepping ALONG'' 

mth Dlltary 'Brian 

Jrom "The Knickerbocker Kid'i^ Matt Taylor 
Dirccuxi bij Charles Hines 



"Conductor 1492" — Thrilling 
comedy of a young Irish lad who 
comes to the land of greenbacks 
to scL-k his fortune. As a street 
car conductor he's a scream. 





"The Brown Derby" is the speed- 
iest comedy of them all. Speed 
boats! Speed cars! And a 
romance that will take your 
breath away. 



"Sure Fire Flint" — Fast and furi- 
ous comedy of the troubles of an 
ex-service man. The big war was 
child's play compared to the fights 
and thrills that Johnny gets into. 





"The Live Wire"— Delights for 
all as Johnny comes dancing 
alone at the head of a big cir- 
cus parade. Action and excite- 
ment all the way through! 



"The Early Bird"- 
Johnnyasam: 



supplies more laughs 'fi^Hines ^^I;^Ut4151X 
■ han Borden does<f^%V?^-r?;k-AM^ 
milk. A whirlwind of action and thrills 



THE American family*s favorite laugh' 
provider— that's Johnny Hines. 

Rousing, clean fun for all whose hearts are 
young I 

Millions have deUghted in the distinctive 
Johnny Hines brand of film entertainment — 
uproarious comedy, rapid-fire thrills, youth's 
winning spirit— all warmed by the inimitable 
Johnny Hines smile! 

And now all who saw "Burn 'Em Up 
Barnes,'* "Sure Fire Flint,'* "Conductor 
1492,'* "Speed Spook,** "Early Bird," "The 
Crackerjack," **LittIe Johnny Jones,'* "The 
Live Wire,** "Rainbow Riley," or "The 
Brown Derby'* will flock to see his latest and 
best — "Stepping Along.'* 

A delightful comedy romance of New 
York's East Side and Broadway's stageland, 
with Johnny as a peppery politician who 
grafts a thousand laughs. 

It's coming soon to all leading theatres . . . 
Make a date now to see it ! 




"Little Johnny Jones" — This time 
it's horse racing, carrying Ameri- 
can colors in a great English turf 
classic. Estabhshed him as the 
"Yankee Doodle Comedian." 



"Burn 'Em Up Barnes" — From 
road tramp to racing champ. 
Johnny Hines whizzes through the 
fastestmarathonofmirth ever run 
over the full distance of six reels. 





"The Speed Spook" — Starts in 
high and never lets up. Smash- 
inp. crashing, dashing along in a 
whirlwind of laughs and mys- 
tery. 60 smiles per minute. 



"The Crackerjack" — The hu- 
morous adventure of a young ad- 
vertising genius, whose colossal 
nerve and sense of humorstopped 
3 South American revolution. 





"Rainbow Riley "has more laughs 
than the rainbow has colors. 
Typical Johnny Hints fun all the 
way through. And that means 
the best there is in comedy! 



A 1\xhK national Picture 

Takes the Guesswork out of "Going to the Movies" 

When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



Photoplay Magazine — Advertising Section 



ZASU PITTS, who has "the 
moB dramatic hands on the screen, 
says: 



}} 



"Hands tell more than faces. 
"Hands are expressive — full of ro- 



mance. 



"Intelligent actresses know this, and 
use their hands quite as much as their 
faces in portraying various emotions. 

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This new preparation is Jergens 
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Z/iju iiiiS, Metro-Goldwyn-Mayer star, whose 
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tiow—the new large-size trial bottle 



THE ANDREW JERGENS CO.. 
3405 Alfred Street. CiDcinnati, Ohio 

For the enclosed 6 cents — please send me the 
new, large-size trial bottle of Jergens Lotion, and 
the booklet, "Your Skin and its Care." 



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Kenneth Alexander 



C?Cew 

(Pictures 



PORTRAIT of a lady with a larger collec- 
tion of adjectives in her scrap-book than 
any of her contemporaries. Lillian Gish has 
more pretty phrases to describe her than 
Lon Chaney has make-ups. Therefore, why 
add to the collection? 




RuthHaxTiet Louise 



A N expert in the art of wearing clothes — Claire Windsor. She dresses as though she 

■* *• had been bom in Paris instead of Cawker, Kansas. Another triumph of the exotic 

environment of Hollywood over the heredity of the stem prairies ! 




George P. Honund 



AN expert in the art of not wearing clothes — Greta Nissen. This beautiful treat for 
the eyes is now playing one answer to the vexatious problem, "Blonde or Brunette ?"" 
It is a big year for the golden-haired girls of the movies. 




""HE name of her new picture is "No Control." Phyllis Haver plays the title role 
Naturally, it is a bght comedy. Why should a girl with a sense of humor like Phyllis 
break her httle heart in the serious drama? 




er ^Si-y^iuw 



Al, 



RuneUBaU 



A PACEMAKER among the stars. According to the enthusiastic vote of movie theater 
managers. Colleen Moore is the most popular actress on the screen, winning the honor 
away from more spectacular beauties and more pretentious names. 






^^» 




MelboarneSpurr 



SPECIALIZING in the Better Class of Villains— John Roche. Mr. Roche wanted to 
be an opera singer and he spends a large part of his salary on singing lessons. He hopes 
some day to crash the Metropolitan Opera House. 



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Today women who first tound 
Lux perfect for fabrics know that 
it keeps hands safe from the 
"dishpan look". No longer does 
dishwashing make their hands 
red and rough. And one tea- 
spoonful does the dishes for the 
family. 

Difi"erent — diamond - precious 
— modern washing magic. 

In every country of the world 
Lux is sold only in the familiar Lux 
boxes — never in any other form. 
Lever Bros. Co., Cambridge.Mass. 



If it's 



safe 
in water 
it's sate in Lux 



Vo 1 u m e XXXI 



The Tiational (juide to SMotion 'Pictures 



Number Three 



PHOTOPLAY 



February, 1927 



Speaking of Pictures 



By James R. Quirk 



THE BIG PARADE" was standing them up in 
London. The crowds stretched in Hnesdown the 
street. This was their answer to the critics who 
[ anned it unmercifully, denouncing it as vaingloriously 
American. 

Inside, a loud mouthed individual arose to his feet and 
cried: "Who won the ruddy war — America?" 

And a cheerful cockney voice replied : " Naow, matey, 
Mamwoyselle from Armentaire." 

THE BETTER 'OLE" shows on Broadway, and 
the li\es and loves aad antics of the happy-go- 
lucky Tommy Atkins is one of the most popular laugh 
producers of the year. 

Not one New York reviewer thought the less of it, 
or even called attention to the fact that it was a tale 
of the lives and loves and antics of the happy-go-lucky, 
fighting Tommy Atkins. 

LUBITCH'S best picture, "Du Barry," was im- 
ported just after the close of the war. Passing 
through Ellis Island it acquired the caloric title of 
"Passion" and any lingering hatred of Germany was 
forgotten in the rush to the box offices. "Variety," 
Herr Dupont's picture, will gross half a million dollars 
here, and Murnau's "The Last Laugh" captured 
Broadway and was proclaimed high art. 

npHAT'S just about how much the average American 
■*- picture goer cares who makes the pictures or what 
nationality is heroized so long as they are entertained. 
For a few months some of our hundred per cent 
American producers — strangely enough they were not 
tlie most prosperous ones — screamed "Foreign In- 
vasion, " but the wise Mr. Zukor and others merely sent 
men to Europe with instructions to hire the directors 
and stars who have accomplished anything, and ship 
them out to Hollywood. 

'Y'ET in England there has been an awful hullabaloo. 
■^ Their producers were crying baby and demanding 
that the government do something about it. American 
films are showing in their theaters about seventy per 
cent of the time, and it is not long since that a member 
of the House of Lords publicly viewed with alarm the 
domination of our pictures in their colonies and the 
disastrous effects on British trade. 

The screen, he said, had influenced the style ideas of 



Asiatic countries so completely that English manu- 
facturers of clothes and shoes were forced to change 
their products to suit the Americanized Orientals. 

>y'ET the good folks of England go right along patron- 

-'- izing our films because they like them, and the 

theater |owners of the British Isles go right on buying 

our pictures because they must please their audiences. 

GERMANY, where the trade influence of the movie 
has always been recognized, has put in the "kontin- 
gent" system to protect their picture industry. One 
picture must be produced in Germany for every Ameri- 
can picture released there, and the German market 
is so profitable that the system is working, after a 
manner. 

Italy and France are equally disturbed and con- 
cerned, but seem to be so far behind in production 
facilities and accomplishment that they content them- 
selves with making it as difficult as possible for the 
invading celluloids. 

T CANNOT believe that the English exhibitor is 
tremendously upset over the situation, nor that his 
patron feels any tremendous interest in whether the 
film that entertains him is American, German or 
English, so long as he spends a pleasant evening. For, 
after all, population is almost all audience today, and 
it is a trade problem rather than a nationalistic dispute. 
On this side the nativity of a picture is of even less 
importance to the audience that pours into theaters at 
the rate of ninety millions a week. But our audience 
would be more vitally interested than it knows if this 
silly controversy were carried to extremes. For if all 
foreign sales were cut off it would mean the amputation 
of the profits of all American motion picture companies, 
with the result that we would see poorer pictures at the 
same or higher prices. 

MORE volumes of Shakespeare, Scott, and Dickens 
are sold here than of Washington Irving, Fenimore 
Cooper, and Hawthorne, and if there is any national 
prejudice against English theatrical productions we 
haven't noticed it. British productions must stand on 
their own merits just as every picture produced here 
must stand on its merit in England, Canada, and 
Australia. [ contixued on p.\ge 72 ] 

87 




bw to Hold 




An ama2;ing article which 
age nor birthdays wither the 



Anna Q. Nilsson 
— after sLxteen 
years in films 
and a life-time 
of hard work, 
she's still a 
young woman. 
An unretouched 
photograph 



Fannie Ward - 
over forty years 
on the stage and 
always the flap- 
per. Her spirit 
is as young and 
carefree as her 
unwrinkled face 



^HERE is no such thing as grow- 

ing old gracefully. There is only 
growing old ungracefully. 

The woman who looks young and 
fcelsyoung, hut who conceals Iter real 
age, is a benefactress to humanity 
and a model for other women. 

Never celchralc birthdays. The 
mere passing of Timecannot age you. 

When you reach thirty, thirty-five 
or forty, don't slump into middle age. 
Don't e.ycusc yourself by saying that 
it is God's will that you should look 
or feel old. It is God's will that, 
with the help of science and common 
sense, you should remain young in 
appearance and feelings as long as 
possible. 

Old age is not a disease. It is 
disease. .4 nd all wrong. 



These are the precepts of Dr. 
Eugene Lyman Fisk, medical di- 
rector of the Life E.\tension Insti- 
tute. Paste them on the mirror of 
your dressing table. And remember 





Blanche Sweet, without lights or 
make-up. As young as ever 



that they are not the dictates of 
fashion, fad or vanity, but sound 
scientific guides of good living. 

The most earnest prayer of every 
modern woman — or man — is "Let 
me remain young." Women are 
franker and more candid in their 
desire to hold to their youth than 
men. But, for economic reasons, 
the feeling is even deeper in men. 
Science is doing everything in its 
power to answer the prayer for a 
longer life, a happier life and a 
wider span of }'outh. 

In the first place, you must get it 
out of your mind that there is any- 
thing silly, vain or frivolous in the 
desire to hold onto youth. This 
feeling is the driving force of life. 
Speaking as a physician and a 
scientist. Dr. Fisk believes that the 
modern woman's desire for youth 
is a beneficial thing for the race. - 
The woman of forty, actively en- 



28 



Your Youth 



By 
Agnes Smith 



proves that years cannot 
woman with common sense 



Mae Murray has 

been starring 

since 1908 




**I insist that my friends be opti- 
mists," says Mary, the eternal child 



gaged in a business or profession, who 
looks as young as her daughter, is a far 
more heartening sight in the eyes of a 
scientist than the woman of forty who 
has gone into black silk, spectacles and a 
bonnet. 

For the scientist knows that the 
woman of forty who looks young is go- 
ing to be more vigilant in guarding her 
health than the bonneted lady who be- ' 
lieves that rheumatism is an invention 
of a spiteful Providence. 

Has this craze for youth among 
women had any real results? Dr. Fisk 
says that it has. In the past fifteen years, 
women have added seven years to their 





Gilda Gray has passed 
her thirtieth birth- 
day, but she is as lithe 
and graceful as her cat 



Alice Joyce — a wage- 
earner since childhood 
— but not a line on her 
face, not an excess 
pound 



average span of life. And this in spite of 
a discouraging start. During the years 
of 1910 to 1920, the modern woman lost 
out. For the first time, there were more 
deaths among women than men, be- 
tween the ages of fifteen and thirty-two. 
The influenza epidemic added to the 
death-rate. But Dr. Fisk also thinks 
that, after centuries of protection, sud- 
den freedom found the modern girl un- 
prepared and uneducated in looking 
after herself. 

But the modern girl has learned her 
lesson and learned it well. Not only 
has the girl learned to hold onto her 
youth, but she is outdistancing the men. 
Dr. Fisk thinks that the business and 
professional woman stays young longer 
than her inactive sister. For obvious 
economic reasons the actress, for in- 
stance, simply cannot afford to be sick 
or to grow old. 

In order to attack this problem of 
holding on to youth in a scientific way, 
we must first find out the physical and 
mental causes of old age. Dr. Fisk 
enumerates them as follows: 

Heredity, which in some individuals 
definitely limits the life span. Infection 
— acute or chronic, by bacteria or para- 
sites. Poisons, from within or without. 
Food Deficiency: general, as a lack of 
sufficient food; or specific, as in a lack of 
some particular food substance, such as 
vitamines. Food Excess: general, as in 
over-eating; specific, as in e.xcessive 
consumption of meat, sugar, starches. 

Air Deficiencies or Defects: Excess 
humidity; lack of motion; temperature 
changes. Hormone Deficiency or a lack 
of some substance or group of substances 
in the glands. ( conti.nued on pace i i6 1 

29 




hen /6>5^ Was Big 



By Frederick James Smith 



Here Is the Most Human Diary 
of a Screen Star Ever Published 






RICHARD DIX has just 
been given a new film 
contract by Famous 
Players. It provides 
him with a weekly salary of 
$4,000. Today Di.x is one of the 
three or four leading male stars 
of the screen. He is known and 
idolized throughout the globe. 
He has arrived. 

Back of Dix's popularity lies a 
very human story. Di.x literally 
has fought his way to the top. 
Not a single step of the path was 
made easy by luck. This re- 
markable story is best told in 
four little books hid- 
den in one of Di.x's 
trunks. These books 
are the diaries kept 
while he was strug- 
gling to succeed. 

It is the privilege 
of Photopl.^y to 
present extracts 
from these diaries. 
The diaries have 
never been opened 
to the public before. 
You will not see 
them quoted again. 

In order to get 
accurately the full 
drama of these quo- 
tations it is neces- 
sary to present a 
brief summary of 
Dix's career. He 
%vas born in St. Paul, Min- 
nesota. He attended the 
schools of St. Paul and Jlin- 
neapolis, and then startled 
his family by saying he 
wanted to go on the stage. 

Dix attended a dramatic 
school. E. H. Sothern 
came to town. Dix man- 
aged to get a hearing from 
Sothern, recited a bit of 
"Richelieu," and was of- 
fered S18 to play small 
parts. Richard didn't have 
the courage to leave his 
family then, but Sothern's 
interest gave him courage. 
He won a place in a St. Paul 
stock company. 

It was while Dix was 
playing in stock in Pitts- 
burgh, Pa., that the diary, 

from which the following extracts are taken, was started. Mary 
Hall was the star of the company, while her husband, Frederick 
Esmelton, was the director, besides playing the heavy roles. 
Charles Meredith w-as a member of the organization. The 
Fatty referred to in the various extracts will remain nameless. 
He was a minor member of the company. When the world war 

30 



FROM DIX^S DIARY 

A little word to you, Dix. I'm young, but for 
my age I've got a good chance and I'm gomg to 
work and win. 

Have eaten one ten cent meal today, coffee and 
doughnuts to keep me alive. 

Banked $15 today. Starting first account. Have 
$17 all together. 

Still sick from the effect of that strong cigar. 
Played pool. 50 cents. I'm through with pool. 
Costs too much. 

Fat and I told about our ideals 
in women. Tried to figure out 
mine but too sleepy. 



Left, Richard Dix at the time 
he started his remarkable 
diary, when he was playing 
sinall roles in a Pittsburgh 
stock company 



Below, Richard as a boy in 
St. Paul, Minn. 




came he enlisted. Dix met him 
once on Broadway afterwards. 
Then Fat went across. At Cha- 
teau Thierry he was reported 
missing. He has never been 
heard from since. 
Here is the diary: 
I talked a guy down and got 
four shirts for S3. 50. \Vrote to 
ma and the folks. 

Paid room rent S3. 50. Bought 
trunk S4.25. 

Rehearsed — took a walk. 
Went to a movie. Certainly like 
Maurice Costello. 

Heard from Bruce McRae 
about Actor's Equity. It's a 
new association and I'm going to 
join. 

Going to have my striped suit 
altered. 

A little word to you, Dix, I'm 
young but for my age I've got a 
good chance and I'm going to 
work and win. I wouldn't want 
to be any older or younger. I'm 
satisfied. 

Went to hear Billj' Sunday. 
Couldn't get within a block of 
the place. 

Got a 6 by 6 picture of myself 
in the Sunday Post. My 
first picture since I went 
on the stage. I bought 
ten for ma and me. 

Going to read for a while 
and go to bed. P. S. — 
You must start to save 
money. Believe me, 
you're going to from now 
on. 

Tailoring bills, etc. I 
am broke. Maybe, I'll 
save money now. 

Worried a lot. Afraid I 
can't get away with this 
part. (The role was in 
"The Light from St. .Ag- 
nes''.) 

To movies. Saw Edwin 
August in "The Lion's 
Pit." 

Bought two newspapers 
with notices, one for ma 
and one for me. Could 
not afford more. 

Bawled out. Guess I am rotten. 

Got up at 9:15. I am going to work now. I know in the 
future I am going to laugh at this, but now, My God, I am 
worried. 

Lost fif tv cents in a pool eame. Will have to borrow from Fatty. 



Money 



Paid Fat the 25 cents I owe him. 

Saw suit of clothes for S5.50 and 
may buy it. 

Got no newspaper notices what- 
ever. Guess I am rotten. 

Got up, ate, went over to Ohio 
Street and bought that suit of 
clothes for $5.50. I don't know 
how good it will be, but it is a 
cinch I can't be beaten out of 
much. 

I must change my character. 

Have eaten one ten-cent meal 
today, coffee and doughnuts to 
keep me alive. 

Bought two books and am go- 
ing to improve my mind. 

Bought four-dollar meal ticket 
and it should last me a week. 

At the show tonight I was the 
cripple and ran off too soon. 
Everyone was sore, so I have the 
blues. 

I am damned blue because 
someone says I may be fired. 

Saw Esmelton. Had a long 
talk. Says I have a future. Am a 
member of Actor's Equity. Got 
my card. 

Have spent five cents in three 
days. Now I am saving. Name 
was in The Diamatic Mirror. 
First time, as a member of Actor's 
Equity. Hurrah! 

Banked S15 today. Starting 
first account. Have SI 7 alto- 
gether. 

Mary Hall told me that I had a 
great future ahead of me, if I 
worked. Great! 

A word, Dix, Miss Hall has 
complimented you so much, aren't 
you going to win. Work, work, 
work! 

Still sick from the effect of that 
strong cigar. 

Banked SIO today. That 
makes S27. 

Fat and I just had a porterhouse steak. Big feed — 50 cents. 

I am a rotten actor. Too impetuous. 

Played pool. 50 cents. I'm through with pool. Costs too 
much. 

Banked S8. Paid Fat S2. Had 82 left on me. 

I'm going to make the supreme effort to improve my mind 
and manner. Reading. That's it. Good literature. 

I went to a spiritualistic medium. Rotten. (The medium 
told Dix that his brother was either dead or dying. Note the 
future developments of this.) 

Saw Forbes Robertson as Hamlel. Gee, what an actor. 

Mr. McCoy says that I might be made heavy man of the 
company. Almost fainted. 

Fat and I told about our ideals in women. Tried to figure 
out mine, but too sleepy. Went to bed. 

Smoking again. Cut it out, Dix. 

Rehearsed. I am rotten. They excused, saying, "But he is 
young." Won't do. Go to work. Read good literature. 




Richard Dix 
Players. His 
for $4,000 a vvi 



has just had his old contract torn up by Famous 
employers have given him a brand new one, calling 
eek. But read here of the old days, when a half dollar 
was a big event in Richard's life 



I smoked, but now I am through with the weed forever. I am 
still sick from it. Have read the Bible and am all cleaned up. 

I am studying the Bible, Shakespeare and American litera- 
ture. Atta boy, Dix. 

Fat paid me fifty cents he owed me. 

Fat is getting as independent as hell. Says he will never bor- 
row from me again. I dunned him for the S5.50. 

I might possibly be made second man in the company. 
Hopes. 

If I ever get to be anything I am going to be like our leading 
man. He has a good word for everybody. 

I am homesick and hard up. I will not touch what I have in 
the bank. 

Dotty and I had egg phosphate and then went up to her room 
and talked spiritualism. 

I've tried to break off cigarettes three times and they have 
got me. By God, I'll quit — I'm man enough. 

Bought a light overcoat at $11 .50. [ continued on page 102 ] 

31 




THE conventional thing lo say is, " Yes. we 
are going to be married and I am the hap- 
piest man in the world." 
But the brave thing to say is, "No, we 
are ;/('/ going to be married. Nevertheless, she is 
the most mar\'elous person in the world." 

Since John Gilbert cannot say the conventional 
thing, he gets up his courage and says the brave 
thing. 

.\ great many stories have been broadcast con- 
cerning the romance of Greta Garbo and John 
Gilbert. The scenario, according to Hollywood's 
most reliable gossips, runs something like this: 

John met the beautiful Scandinavian and im- 
mediately started an impetuous courtship. He 
made no secret of his devotion for the lovely 
Greta. He accompanied her to all the parties. 
He lunched with her and dined with her. He 
worked with her in a picture called "Flesh and 
the Devil." He proclaimed his intention of mar- 
rying her. 

.^ for Greta, she seemed to enjoy the rush. 
.\nd then, when ever>one was all set for another 
Hollywood wedding, Greta walked out. There 
was no quarrel, no scene, no hard feelings. Greta 
simply announced, in cool but bad English, that 
she had no intention of marr>'ing at all. 

But John Gilbert sticks to his sto^\^ She is a 
wonderful woman. .\ delightful woman. .\nd 
the most fascinating actress in pictures. 

.\s the Pig Woman remarked to Senator Simp- 
son, on the occasion of another defeat, "Can you 
beat it?" 

Greta must be wonderful. .\ny girl who can 
inspire a rush of adjectives to the lips of a gentle- 
man she has gently thrust from her life must have 
extraordinar>' qualities. When a lady suddenly 
calls a halt to a "rush," the break usually leaves 
the gentleman cold and disillusioned — and some- 
times cruel. 

But, even in the face of Greta's apparent fickle- 
ness, John Gilbert can describe her so glowingly 
that you want to take the first train for California. 

"She is," says Mr. Gilbert, "a mountain of a 
girl. She is like a statue. There is something 
eternal about her. Not only did she baffle me, 
but she has baffled ever>'one at the studio. 

"And dangerous, too. M'hen she comes into a 

32 



^TIXp Speaks a 



John Gilbert loved and 
lost the beautiful Greta— 





The romance of John and Greta got a whirlwind start in 
"Flesh and the Devir* 



Gallant Loser 



But l.\e still insists that 
she is a wonderful girl 

By Agnes Smith 





"No one understands Greta Garbo except Stiller. I was 
never Stiller' s real rival with her" 



room, every man slops lo look at her. And every 
woman, which is more remarkable. She is ca- 
pable of doing a lot of damage — unconsciously, of 
course. Upsetting thrones, breaking up friend- 
ships, wrecking homes — that sort of thing. 

"At the studio, no one understands her, no one 
really knows what she wants. They say she's 
temperamental. But she doesn't make scenes; 
she simply walks away and hides, for days and 
weeks at a time. 

"It is almost impossible to do business with 
her. The oflicials were tr\'ing to get her to play a 
certain role. They argued with her for three 
hours, until they w'cre congratulating themselves 
that she was finally convinced. But at the end of 
all the talk, she merely said, 'I tink I go home.' 
And walked out. 

" That's her final word on everything. ' I tink I 
go home.' She does. Once she had been missing 
for days and I went to see her. Her maid told me 
that she had gone to the beach. I jumped in my 
car and motored for miles — way out beyond 
Santa Monica. 

" I found her at last. She was all alone and just 
coming out of the surf. She didn't see me, so I 
watched her to see what she would do. She 
stood on the beach, all by herself, and just looked 
out at the ocean. And she remained so, without 
moving, for fifteen minutes. 

"And that's when she's really happy — standing 
alone watching the ocean. There isn't another 
girl in Holl}'wood — or in this countr\ — capable of 
such complete repose. 

" Greta has no idea of the conventional courte- 
sies of the studio. A certain director once wanted 
her to play in his picture. Greta met him, in the 
lobby of her hotel, quite casually. But he im- 
mediately cornered her and argued, interminably, 
like a self-winding phonograph, as to just why it 
was to her advantage to work under his direction. 

".\fter all his talk, she turned to him coldly and 
said, 'But I do not wish to work for you.' Nat- 
urally, he was horribly insulted, .\fter he walked 
off, I told her that she really ought not to speak so 
bluntly. 'But,' she insisted, 'I do 110/ wish to 
work for him.' 

"Greta is that way. There's no convincing 
her of anything. 1 continued on page 120 ] 

3S 




^ 



|OUG and Mary haven't put unnecessan' burdens on their married 
life. They don't make their hours together a dumping ground for 
every inharmony and discord of the day. That, fundamentally, is 
the basis of success in their marriage, says Adela Rogers St. Johns., 



■% 




Adda Rogers St. Johns Story of 

he Married Life of 

Doug and Mary 



THE most successful famous marriage the world has ever known is that 
of Douglas Fairbanks and Mary Pickford. 
It comes as near being perfect as any human relationship I have ever 
encountered in this imperfect universe. 

To go into their home and see them together is one of those things that 
gives vou back your lost dreams, your riddled faith in romance and the 
beautiful. 

They are living a great love-poem in the practical, difficult, much-discussed 
relation of modern marriage. 

What is the answer? 

How do they do it? 

In this day of light marriages, of disrespect for marriage, in this time when 
the very foundations of the institution of marriage seem trembling, as the 
recorded increasing percentage of failures proves — what is the secret of this 
amazing marriage? 

Is there a formula; are there rules and precepts 
that can be passed on to others? 

Not quite that. 

And Mr. and Mrs. Fairbanks themselves do not 
like to discuss it. They have a great sense of its 
sacredness. And I think, too, they are just a little 
bit superstitious about it, as the ancients went 
softly in great happiness, for fear of making the 
gods jealous. 

But after making a careful study of the married 
love story of Doug and Mary, after talking with 
those who know them best and with those who have 
had only brief glimpses within the happy portals of 
Pickfair, I think I can tell you a great deal about it. 

Mary and Doug have not been afraid to regard 
their marriage as a sacrament. 

They have not put too heavy burdens upon it. 

They have constructively and earnestly tried to 
make it a success, putting even more love and 
thought and endeavor into it than into their work. 

They have regarded it as their crown of happi- 
ness and they have used the wisdom and the experi- 
ence of their whole lives to keep it bright. 

I do not wish to wa.K sentimental. I will not wax- 
sentimental. But there is something about Mary 
Pickford as a wife that is too lovely for mere words 
to express. 

D. W. Griffith once said, "I never saw any 
human being approach wifehood with the sacred 
trust that Mary Pickford has. It was like a bright 
aura around her. She was like a madonna — she 
always will be like a madonna." 

I like to think that what Charlie Chaplin, who is 
their best friend, says about them is true. It is 
something like this: " Mary is the eternal madonna 
— the eternal mother of the world. She was born 
like that. She was like that when she was born — 
when she was a child. Douglas is eternal youth. 
There is a great deal of Peter Pan, even now, in 
Douglas. He will never grow old. What more 
natural than that eternal motherhood and eternal 
youth should make a perfect mating? If you wiU 
read the story of Peter Pan and Wendy, you will 
know a great deal more about Mary and Doug than 
you do now." 

I Hke that tremendously — don't you? It is ex- 
actly the concept that [ coxtixued ox page 134 ) 



V/hen Mary V/ouldn't 
Dance W ith a Prince 

Prince George, son of the King of England, 
asked Mrs. Fairbanks to dance with him. 

Mary blushed and said, "I thank your High- 
ness, but I don't dance." 

The prince was amazed. 

"Well," added Mary, "I do and I don't." 

His Highness was more puzzled than ever. 

"You see," continued Mrs. Fairbanks, "I have 
never danced with anyone but my husband." 




"Marriage should be you and your wife — and the rest of 

the world outside," Doug has said of matrimony. Doug 

and Mary have proven the supreme wisdom of this 

philosophy 

ss 



lllus t rated by 
May Allison 

and 
Charles Ray 




Id^time Courtim 



25 Years ago 



The start of a heavi,' court- 
ship. Twenty-five years ago. 
when a feller began flinging 
nickels around the ice cream 
parlor, it wac a sure sign that 
he was "keeping company'' 
in real earnest. And when he 
boldly ordered a "vanilly soda 
with two straws, please." it 
was just as good as a decla- 
ration of love 



The neighbors had something to gossip 
about when the feller hired a rig from the 
livery stable and took the girl for a buggy 
ride. And maybe you think he didn't ask 
for a horse who would stand along the road 
without hitching! 




The wedding photo — teamed up for life. 
Of course, he'll discover that those golden 
puffs are only held on with a hair-pin. And 
she'll learn that he's making only $17 a 
week. But despite that they'll live happily 
ever afterwards 



J 



and a Red Hot Date 



Photos by Stagg 

Settings by 
William Fox Studios 



and Today 




Today, the fun starts at sixty 
miles an hour' He met her 
only five minutes ago and he 
doesn't even know her last 
name, but it Is beginning to 
dawn on him that the strug- 
gle is hopeless. She's a 
blonde and he's a gentleman 
and the cards have been 
stacked against him from 
the very start 



They celebrate their first wedding anniver- 
sary at the court-house where a big-hearted 
judge tells them that they are free to go out 
and make more mistakes. They part the 
best of friends, to live happily ever after- 
wards — but not together 



Everything is hots^'^-totsy when he learns 
that the little girl totes her own firewater. 
But the first cloud looms over the romance 
when he begins to wonder if he'll have 
enough money, after paying the couvert 
charge, to buy a marriage license 




37 



"Qoes Rudy Speak 



By Frederick James Smith 




Natacha Rambova, in an unusual camera study suggesting the psychic. 
Miss Rambova recently returned from Paris and announced a series of 
spirit messages from Valentino 



WHEN Xatacha Rambova. the former wife of Ru- 
dolph \"alentino, arrived in America recently she 
won a place on the front pages of the newspapers of 
the countni- by declaring that she had been and was 
receiving spirit messages from the famous film star. 

Most of the nation's newspapers dismissed the statement 
lightly. But, among Rudolph Valentino's intimate friends, 
the statement aroused much comment. It is a matter of record 
that both Rudolph and Xatacha were interested in the psychic 
during their marriage. S. George Oman. Valentino's manager, 
refers to the fact in his book, " Valentino as I Knew Him '': 
"I had observed that both Rudy and Xatacha were inter- 

S8 



(PHOTOPLA YiL'ishesto makedear 
its position in prescnliiig the so-called 
spirit messages of Rudolph Valeutiiw. 
These messages are presented as a 
matter of ncu-s. The many questions 
of spiritualism, theosophy and rein- 
carnation cannot be discussed here. 
It must be noted, however, that many 
scientists and men ofn'orld wide prom- 
inence, including Sir Arthur Conan 
Doyle. William James and others, 
believe in the possibility of receiving 
authentic spirit messages. 

On the other hand Houdini, who 
davtal his life to exposing spiritual- 
istic fakes and who died recently, 
never has communicated with his wife, 
although a scries of signals had been 
arranged. Other spiritualists have 
claimed to receive communication 
from Houdini but they fail to reveal the 
secret code the magician had given his 
wife). 



ested in something supernatural," he 
writes. "Just what it was I did not 
know. Afterwards it turned out to 
be automatic writing and a form of 
the psychic. Before making any 
move, they considted this power." 

iliss Rambova e.\plains that the 
so-called messages from \'alentino 
came to her with the aid of George 
B. Wehner, a trance medium. These 
messages began to come three days 
after Rudy's death, she says, while 
she was in South Europe, completing 
the work of illustrating a special 
edition. 

Photoplay submitted a set ol 
questions to Miss Rambova. These, 
with Jliss Rambova's answers, are 
presented in this article. She ex- 
plains that they are summarized 
from a series of messages, which will 
appear in their complete form in a 
book Miss Rambova is now complet- 
ing. This book, at present titled 
"Rudolph Valentino Intime," will 
consist of two parts. The first will be 
devoted to Miss Rambova's persona] 
recollections of Rudy, presenting 
hitherto untold stories of the actor in 
the Hollywood days when he was 
stri\ing for success. The second por- 
tion will be given over to the so- 
called spirit messages. 

Here are Photophy's questions 
and Miss Rambova's replies: 
Is Valentino happy.'' 

".\t first he was anything from happy. That was imme- 
diately after his passing. Three days after his passing I re- 
ceived his first message. Incoherent as it was, it showed Rudy 
as resentful and bitter at his taking at the height of his career. 
The spirit of his mother spoke, too, protesting at Rudy's ter- 
rible unhappiness. Then the tone of Rudy's message changed. 
Xot, however, until after his final burial service in Hollywood. 
Concentrated public thought had held him earthbound. The 
prolonged cross-country funeral had held him in the agonies of 
the s[)irit in passing. 

" Rudy, of course, saw his funeral. He was torn with unhap- 



J 



From the Beyond? 

Natacha Rambova tells of the Spirit Messages she claims 
to have received from Valentino 



piness as New York mobs fought for 
a view of his body. He realized his 
great popularity as he had never 
realized it and knew what he had lost 
b\' being taken. To him it was won- 
derful but cruel. 

" He w'as lonely, too. He could not 
reach his friends. He could not touch 
I heir sorrow. He tried to talk to 
them but they could not hear. 

"Of course, he felt the loss of adula- 
tion. Soon, however, the interests of 
the astral world began to hold him. 
Now he is radiantly happy, an.xious 
to begin his work there." 

]Vln'»i lias he mcli' 

"He has named Wallie Reid, Bar- 
bara La JMarr and little Olive Thomas. 
He has been mo.^t interested in meet- 
ing and talking with Enrico Caruso. 
Caruso, of course, was the idol of all 
young Italians. When Valentino first 
came to America, to make his living 
as best he could, Caruso was at the 
apex of his operatic career. To Rudy 
he represented all success and all 
greatness. You can imagine, then, 
his joy at meeting the great tenor 
over there. Caruso has taken Rudy 
to the opera and to hear astral con- 
certs. Rudy, too, has met the per- 
sonal friends with whom we used to 
communicate by means of automatic 
writing." 

117/(1/ /lave they said? 

"They have e.xplained the astral 
world to him. He is slowly coming 
to comprehend the sublime qualities 
of the new Ufa about him." 

Docs Valentino know of the sorrow 
that swept the world at his death? 

"Naturally, he was conscious of 
the world's sorrow. It w^as visible all 
about him. It tortured him in those 
earthbound days." 

Valentino has referred to the opera 
and the spoken drama on the other side. 
Ca n he tell more vf this? 

" Opera and drama, sublime things 
of radiating tones, moods and colors, 
he says, are presented in massive 
theaters built of thought-substance." 

Valentino has said there are no 
viovics. Why? 

" Because the films are a mechan- 
ical perversion of the drama. In the astral world there is noth- 
ing mechanical. There is a point here I want to make clear. 
All inventions are created first in the astral plane. As earth- 
people perfect themselves and achieve the point where they can 
reach across, they snatch these inventions from the astral. 
Everything earthly is a materialization of something conceived 
in the astral plane. Motion pictures, on the other hand, require 
mechanism for presentation. Mechanism is material and con- 
sequently not of a part of the astral scheme of things." 

What earthly successes docs Valentino remember now? 

"He remembered all, at first. Rudy wandered the film 
theaters where his last film was being shown to sorrowing 




One of the last portraits of Rudolph Valentino. Natacha Rambova, his 

former wife, claims to be in receipt of a number of spirit messages from 

Rudy via a trance medium 



audiences. He walked his old haunts on Broadway, particu- 
larly around 47th street, where he used to spend many hours of 
his old penniless dancing days. He suffered because his old 
friends used to pass him by, unknowing. Yes, he tried to speak 
to them, without avail. He shouted 'I am Rudolph Valentino' 
but they did not hear. It was hard for him to understand. He 
was just as alive, but in a different vibration. As Rudy has 
grown in astral knowledge, however, these earthly recollections 
have lost their appeal. The old glamour of the earth-people is 
passing. Our world is growing fainter." 

Has Valentino any message for his old host of worshippers? 

"Yes. He has a message for ( co.xtinued on p.ige 104] 

39 



C~T7lviyTruth About 



Ga:e on the 
giddy knock- 
out your corre- 
spondent wore 
in "Twinkle- 
toes" 




Installment Three in which our Heroine Loses 
her Bet but Actually Gets Some Work 

By Ruth Waterbiiry 



TT/flSA' my editor bet me five hundred dollars that I, a 
•'V member of the Photoplay editorial stajf, posing as an 
uiikiioK'n extra girl, couldn't break into the movies, I accepted 
/lis bel with great calmness and started of for Hollywood. I 
was very sure of myscJf. 

My advent, howncr, did not rock Hollywood with excitement. 
My face proved fatal only to myself. No more extra girls were 
wanted by anyone, of my kind or any other. In the eyes of 
Hollywood I was no more valuable than a used postage stamp. 

I discovered Central Casting Corporation, the employment 
office organized by Will Hays, controlled the extra situation. I 
called there and didn't even make a dent. I tried the studios. I 
visited every one of them and succeeded only in wearing out my 
shoes and nearly breaking my girlish heart. 

First National was my last stop. I couldn't have my editor 
hand me the merry razz, so I begged Dan Kelly, First National's 
casting director, to let me play on a set, if only for a day. I con- 
fessed to him I really was a reporter. Dan told me to come 
around that night and he would let me work with Colleen Moore. 



The newest killjoy of the extra girl's dream — Central Casting 
Corporation. Dave Allen, standing in center, presides over it. 
If a girl's name isn't known to ''Central," the chances of its 
ever being known to fame are very slight 



AT Central Casting Corporation, the only office in Holly- 
wood to which calls for extra workers come and the only 
office from which the extra can get work, there are more 
than 4,000 men registered; more than 6,500 women, more 
than 3,500 children, some 14,000 people in all. From this group there 
is an average daily call for 483 men, 195 women and 20 children, 698 
jobs a day for 14,000. These are the facts of the extra situation in 
Hollywood today. 

I was wildly happy as I walked across the First National lot. I, 
that night, was one of those 195 women, 195 selected from aU classes 
of extra women, from beautiful girls of sixteen to character women 
of sixty, one of the 195 out of 6,500. Proportions like that give false 
value. 



Breakini 



into 



the Movies 



I was inside, on the lot, going 
to work, going to win a pay 
check. I was wearing a make- 
up which a character actress at 
the Studio Club had put on me, 
carrying a make-up box one of 
the girls had instructed me to 
buy, running along with a key of 
Dressing Room 15, Women's 
Dressing Room Building 2, in 
my hand, on the lot, in the 
movies, ready for night work, 
momentarily victorious. 

It is a thrill. I defy anybody 
to escape it. I defy anj'body 
once put in touch with it all not 
to feel it. All that dreaming, all 
that romance, all that wealth, 
and all that beiuty mean are 
jiresent o;i a Hollywood movie 
lot. California with its e.xotic 

atmosphere is e.Kquisite when clothed in the darkness of night. 
I walked across the lot in the coc 1, blue-black air, the scent of roses 
and mimosa floating up to me. The vague outlines of sets were 
visible, the vague bulk of covered stages, occasional swift flashes 
of light, and the subdued chatter of voices. How poignantly, at 
that moment, I understood the girls who starve and steal and 
suffer shame to get into movies, to remain in them. 

WH.\T a real newcomer would do at First National I don't 
know. Obviously the first law of the e-\tra world is shift 
for yourself. I had been told to be there at seven. I was, but no 
one was in the casting office except the boy who had given me 
my dressing room key, and a Central Casting check, which I 
had to present at the wardrobe department to get my costume. 

There was no one in the wardrobe department save the prop- 
erty man, who looked me over as he might a horse, disappeared, 
and came back with a costume, complete from shoes to hair 
switch, aU the right size; handed it to me without a word. 

There was no one on the lot when I left the wardrobe and 
went along looking for the right dressing room building. I 
passed the little bungalow which is Colleen Jloore's dressing 
room. I passed the leading players' building, the men's build- 
ing. Finally I discovered Building 2, and Room !5, a neat, 
brightl\' lighted little dressing room with a window that opened 
on a rose garden. 
I fancied many 
bright things in 
that dressing 
room, imagined 
everything except 
that which really 
happened. 

The character 
actress had given 
me a good make- 
up, but my cos- 
tume extinguished 

me completely. Dan Kelly had told me I 
was to be a London woman of the streets. 
I looked it completely. I had been in- 
structed to be on the set at seven-thirty. 
The time came and went, but nobody 
called me. The dressing room building 
w-as silent, except for an occasional slam- 
ming door. I ventured out finally in the 
direction of the lights. 

The set was a series of streets in Lime- 
house, London, drab little alleys winding 
crookedly into one another. The narrow 
sidewalks edged themselves past tiny 
shops with dull windows dressed with 
Chinese curios. Street lamps burned 



Read on, little movie aspirant, 'w.'ho 

believes -work in the movies to be 

romantic, easy and golden. Here is 

a graphic report of the vi/ork and 

•wearying hours demanded of extra 

■workers. Every -word of it is abso' 

lutely true. Study it thoroughly 

before you buy your ticket for 

Hollywood. 

James R. Quirk 



feebly on the corners and the 
roadways were muddy with 
water, as the scene was to be 
l>holographed through gauze to 
resemble fog. 

I shivered. It was too real for 
me. Poverty hung in the air, 
and liopelessness. California 
faded into London as a strange 
depression settled upon me. 
The other extras came in slowly, 
sle[)ping o\'er electric coils and 
puddles. Ten women, twenty 
men, char.acters, all of them. 
They came in singly, sitting 
down here and there on door- 
steps and curb, each alone and 
silent. 

Electricians moved toward the 
lights, stepping around extras as 
impersonally as they stepped 
around doors and boxes. The extras did not notice. They just 
waited to be called to work. There were no stars, no lead- 
ing actors, to give the scene life. We waited. 

I had come prepared to act for the glory of " Twinkletoes." I 
had expected to see camaraderie, bohemianism. Now I tried to 
still my excitement, which somehow seemed unmannerly, ex- 
cessively naive in this assemblage. I felt that surely some 
sparkling person would come along and vitalize us. We waited. 
I spoke to one or two women near me. They were polite, but I 
met with no encouragement, and the conversation died. The 
night lay dark and blue over the hills as the moon climbed the 
sk\'. I looked at ray watch. We had been waiting two and a 
half hours. 

SUDDENLY there was movement. Charles Brabin, the direc- 
tor, came on the set. Women, who had sat with their eyes star- 
ing out at nothing at all, were swiftly vivacious. Men. who had 
not even smoked, slapped one another on the back. Their 
fierce, terrible desire to please, to be noticed, was heartbreaking. 

The assistant rushed about giving orders. "You two," he 
said, grabbing me and a tall woman, "come out of this store as I 
count 4. Walk into the center of the road, turn and disappear 
through that second gate over there." 

The tall woman eyed me. Her | coxtixued o.s pace 130) 



With what art — 
and a broom — I 
played a French 
peasant in "The 
Silent Lover !' ' 
The ritzy gal is 
Natalie Kingston 




u 




The Lark of the Month 



THE annual football classic between the University of Soutbem 
California and Stanford attracted eighty thousand gridiron 
fans to the Los Angeles Coliseum. 
Thousands of automobiles jamm,ed the roads, and motorists 
made the trip to the Coliseum at a snail's pace. Arrangements had 
been made, however, for Harold Lloyd to enter the grounds by a 
special gate, thus avoiding the jam. This was a special favor 
accorded to the comedian because he had starred in the famous 
footb^U comedy, "The Freshman," and because his studio work 
necessitated a late arrival. 

Lloyd reached the Coliseum gate in his Rolls, when an official 

4^ 



Stopped the car. "My name is Lloyd — Harold Lloyd," the come- 
dian told the man. 

*'Don't kid me," replied the guardian of the gate. "You're the 
fifth guy that's been here today claiming he's Harold Lloyd. 
Why, you haven't even sense enough to wear glasses. Nothing 
doing!" 

Just then Zack Farmer, manager of the Coliseum, happened 
along, and everything was fixed for Lloyd. However, the comedian 
says he is going to don a pair of cheaters when he makes special 
entrances after this. Without glasses, Lloyd is never reco^^ized 
in public. 




ou 

Must 

Make 

M^en Behave 

says 

Arlette Marchal 

to 

Ivan St. Johns 



BUT what ees all thees — thees bunk they haf 
tol' me about American men? " 
Arlette Marchal opened her brown eyes very 
wide, made a question-mark of her expressive 
white hands, exclamation marks of her perfect eye- 
brows, and threw the entire gamut of French emotion, 
accent, and fascination into her lovely voice. 

"I can't imagine," I said, helping her to another 
chop — it seemed the proper thing to order when lunch- 
ing with a beautiful French actress — "what was it?" 

I wasn't going to commit myself. There are too 
many different varieties of bunk handed out about us 
American men for me to go bursting right in on this 
one. 

"Zat zey are all for buzziness, zat zey do not 'ink of 
lofe, or know how to make lofe. Always, always, I haf 
heard thees things about the American men. Oh — 
the)' care only for buzziness — and golf, eh? .\nd now, 
I haf come to America and what do I see, eh? What 
ees it I find?" 

Right here, now that the story is really getting ex- 
citing, I'm going to abandon the attempt to reproduce 
Arlette Rlarchal's accent. It can't be done. But if 
American women sound like that in Paris when they 
speak broken French it's a wonder the Frenchmen e%er 
let them come home. So you must just use your per- 
fectly good imagination from now on, which will be 
ver>^ good for you because nobody's imagination 
really gets enough exercise nowadays, and try to hear 
the fascination of her speech for yourself. 

"Well, what do you find?" I asked, very politely, 
signalling the waiter at the Lafayette, where we were 
lunching, to help mademoiselle to more spinach. 
Seems the French are very fond of spinach. 

" I find that they make love divinely — but divinely! 
They are as tempestuous as — as Spaniards. They have 
the combination of the hotness of the Spaniard and 
the finish of the Frenchman and the strength of the 
Englishman. 

" My goodness, how I was deceived. 

"Why, it is much harder to make American men 
behave than any others, I should think. And you 
must make men behave. Oh, yes. It is just the same 
in America as it is in Europe. You must make men 
behave." 

I was torn between a little feeling of elation that at 
last we poor downtrodden [ contixued on page 105 ] 




A big vote of thanks, please, for Miss Marchal. ''Ameri- 
can men make love divinely," says the beautiful French 
woman. "They have the hotness of the Spaniard and 
the finish of the Frenchman." Now will all the blush- 
ing boys come forward and make a pretty bow? 

43 



STUDIO NEWS &? GOSSIP 




James R. Quirk, publisher of PHOTOPLAY, gives John 
Gilbert the PHOTOPLAY Gold Medal of 1925. Upon his 
arrival in California, Mr. Gilbert presented the medal to 
Marcus Loew, producer of "The Big Parade.'' This photo- 
graph was flashed by wire across the continent 



OF course you know that the Chaplin marriage has now 
gone down among the famous failures of history. Lita 
Gray Chaplin and her two children departed from the 
Beverly HiUs home, after a scene only surpassed by the ex- 
hibits of Mr. Pain, the Fireworks King. Soon after their exo- 
dus, Charlie inserted a legal notice in the Los .\ngeles news- 
papers to the effect that his wife had quit him and that he 
would be no longer responsible for her debts, etc. As every 
woman knows, those words mean business. 

TO put it discreetly, Hollywood is not exactly surprised at the 
Chaplin rift. According to Charlie, the immediate cause of 
ihe quarrel was a noisy party, sponsored by Lita, which kept 
his household awake until two o'clock in the morning, when 
Charlie called a halt. Lita says that Charlie has been cruel to 
her and that she is willing to prove it in court. Of course, she 
will ask a lot of money to soothe her injured feelings and the 
custody of the two children. CharUe objects strenuously to 
giving up the babies, for which you can hardly blame him. 

Meanwhile, production on " The Circus "' has been suspended. 
Charlie has circus enough at home, what with lawyers and 
relatives trj-ing to patch together the fragments of his busted 
bliss. 

A DO'WNTOWN theater in New York revived one of 
■^^■the old Chaplin comedies for a week's engagement. 
According to "Variety," the sleuth-sheet of Broadway, the 
theater introduced the film with this title: "This comedy 
was made when Charlie Chaplin had only one motor car, 
no baby carriages and his mind on his work." 

A HOME, a Httle sister, a daddy and a mother came to small 
Donald LaMarr, Barbara LaMarr's adopted son, the 
other day when ZaSu Pitts, who has been caring for the boy 
since Barbara's passing, signed legal adoption papers for the 
four-year-old lad. Tom Gallery, ZaSu's husband, and tiny Ann 
Gallery, their only child, were present at the proceedings. 

I'LL never announce Clara Bow's engagement again. Nor will 
I ever trust a red-headed gal. Just as everyone confidently 
expected that Clara had made up her mind to flap to the altar, 
along came the news that all was off between Clara and Victor 
Fleming. 




1' 



The Brigand 
Belt origi- 
nated on the 
R i \' i e r a , 
which is apt 
enough as 
any tourist 
will tell you. 
Bebe Daniels 
wears the 
first of the 
importations 
to reach 
Hollywood. 
The belts are 
eight inches 
wide and 
fastened 
with a huge 
silver buckle 




Now if Clara wants to convince me that she really means to 
settle down, she will have to show me the marriage license to 
prove it. 



ONAPPY headline in a New York newspaper: 
^Sills Prefers Semi-Costume Stories." 
Here, here! Who doesn't? 



'Milton 



ALLA NAZIMOVA'S beautiful estate, the one far out on 
Sunset Boulevard, has been converted into a residential 
hotel of twenty-five separate Spanish villas, and Madeline Hur- 
lock is the first picture celebrity to occupy a unit. Rooms over 
the great garage of "The Garden of Alia," as it is now called. 



EAST AND WEST ^yCaiYork 



As a protest 
against over- 
alls and the 
old straw hat, 
Charles Ray 
rushes to this 
extremely 
ritzy costume. 
The barefoot 
boy is now 
wearing spats 
and the gan- 
gling rustic is 
going in for 
double-breast- 
ed waistcoats 
and "diplo- 
mat" collars. 
And notice the 
hair-cut! 





have been transformed into a studio where Nazitnova lives. At 
the moment, however, Madame is making vaudeville appear- 



"T'JI not a Freeman, I'm a free woman!" declared Pauline 
J-Starke when I asked her about her reported engagement to 
Donald Freeman, magazine editor. "He's charming," contin- 
ued Pauline, to whom I would apply the same adjective, "but 
somebod\''s imagination went riot. 

"We're not engaged." 

That is what comes of being so popular when one goes to 
New York. 

Pauline just finished a picture there. 



A new and smart accessory for the feminine motorist. 
Dorothy Phillips has a vanity case set in the steering wheel 
of her car. Now it is possible for her to repair her make-up 
while speeding along at sixty miles an hour. But she 
doesn't let the traffic cop catch her at it 



"T^O you know that one about the handsome actor who 
•'-^greets every introduction thusly: "Don't tell me I look 
like John Barrymore ! I know it! It's my curse!" 

NIGEL B.\RRIE is practicing a lullaby and Mrs. Barrie is 
wondering what the feminine of the name Nigel is. It's all 
because of a baby girl, weighing eight pounds and si.x ounces, 
that arrived the other day. Baby Barrie's mother is a non- 
professional, being formerly Mrs. Gertrude Pocktington. 

■jUTARY HAY BARTHELMESS, four year old daughter of 
•^''-'■Richard Barthelmess, is always amazing her best 
friends by her unusual use of words. The other afternoon 
when her very dear friend, Mrs. John Robertson, called on 
her at the Beverly Hills hotel, Mary said, "Aunty Jo, there 
are three of the cutest rascals in the bungalow next door. 
Real rascals! A blue rascal, and a black rascal, and a gray 
rascal. Come see them." 

Mrs. Robertson followed, somewhat bewildered, and 
Mary led her into Theda Bara's adjoining bungalow and 
proudly pointed to three kittens curled up in a basket. 
"Why, darling," said Mrs. Robertson, "those are kittens." 
"They're not," said Mary, positively. "They're rascals. 
Her husband (Mr. Brabin)," pointing to Theda, "told me 
so. He said, 'Come see my cute little rascals'." 

THE month's most unimportant news: Sari Fedak, former 
wife of Ferencz Molnar, arrived in this country with a gen- 
tleman she introduced as "\'alcntino's successor." The ship 
news reporters, however, didn't think they were seeing a ghost. 
He's a Hungarian with the sort of name one forgets imme- 
diately. He's never acted before on stage or screen. Sari found 
him rowing on the Danube. No, Geraldine, not rowing like a 
lion. 

WE are strong for the sentiments of Vilma Banky. \'ilma 
declares that she will never, never appear in a picture 
with any person who designates himself as "Valentino's suc- 
cessor." 

NO end of discussion and much disbelief is heard in Holly- 
wood about the spirit messages that Natacha Rambova 
claims to have received from Valentino, -\lberto Guglielmi, 



-i^ 




Hobart Henley says it with flowers. This 
floral typewriter was presented to Marion 
Davies when she started work on "Tillie the 
Toiler," a comedy glorifying the American 
stenographer. Henley is the director 



Rudy's brother, says by way of refutation, "I think Rudolph 
would have communicated with his own brother if he had any 
message to send from the other side." But, of course, there is 
always the chance that the astral switchboard operator got the 
wires crossed. 

Neither Pola Negri nor Guglielmi have heard of George 
Wehner, the medium who transmitted the messages, and Pola 
thinks the subject is too sacred, anyway, to be commercialized. 



■'c& 



JALITY STREET" will probably be the Marion Davies 
, picture. King \"idor's next will be "The Mob," a story 
of a white collar man. John Gilbert says he wants to play 
the leading role. He insists he has a white collar. 

THE new Paramount Theater in New York is now doing 
business at 44th Street and Seventh Avenue. And what 
business! This enormous theater is the largest in the world — at 
the present writing. It is not only a show house but a museum, 
with vast rooms and promenades filled with all sorts of treasures 
gathered from every corner of the globe. 

The opening was a great occasion; every notable in New 
York managed to be there. The program began late and lasted 
until all hours of the morning. You know how such things are. 

Mayor Walker made an amusing speech. He reminded that 
audience that three hundred years ago, the island of Man- 
hattan had been bought from the Indians for twenty-four dol- 
lars. " And," said the Mayor, " today you couldn't rent a shelf 
in this building for that price. " 

THE two most interesting persons at the opening were 
Thomas A. Edison and Adolph Zukor. Edison was coaxed 
from New Jersey for the occasion and sat in a loge box. When 
the audience greeted him with a wave of applause, Mrs. Edison 
was obliged to tell him that he was receiving an ovation. The 
inventor is almost totally deaf. But when he finally stood up 
and bowed, he looked as pleased as a child. 

As for Mr. Zukor, he was quite overcome by the success of the 
opening. Even in a business of almost fantastic successes, Mr. 

46 



In "Sunya," Gloria Swanson is introducing some new 
faces to the screen. And here is a profile view of one of the 
newcomers — John Boles, in a scene with Miss Swanson. 
Mr. Boles was singing in musical comedy when Gloria 
convinced him that silence is sometimes golden 



Zukor's career is incredible. The enormous theater stands as a 
monument to the industry, vision and courage of this immigrant 
boy. 

.\nd so the Paramount Theater is one of the buildings in New 
York that really means something in the life of the city. Its 
beauty stands as a sort of permanent justification for the ex- 
istence of Ellis Island. 

'T^HE Paramount Theater was barely completed in time 
■*■ for the big opening. One hour before the audience ar- 
rived, carpenters were still busy removing scaffolding. 

"At half past seven," announced Eugene Kelcey Allen, 
Broadway's wise-cracker, "somebody threw a handful of 
fish in the gold-fish bowl and then opened the doors." 

THE other day a little old lady sat in one of the loge seats at 
the Paramount Theater. 'To the audience she was just 
somebody's grandma. 

In reality she was Mrs. Jesse Lasky's great-grandmother, 
who had made a trip from Boston just to see the theater. She 
is ninety-one, but she wouldn't let her great-granddaughter 
send her car to the theater for her. She likes New York ta.xis, 
she says. 

GR.\XT WITHERS announced his engagement to Alberta 
\ aughn, and Mrs. Grant Withers, his former wife, an- 
nounced that she was going to take steps to collect the S300 
back alimony he owed her before any wedding bells pealed out. 
.Mberta denied they were to be married, but that didn't change 
Inez Wither's mind regarding the alimony and she went to see 
her attorney. 

It was one of those young impetuous marriages, that of the 
Withers, and Mrs. Withers secured a recent divorce. Grant 
and Alberta are really very fond of each other. I shouldn't be 
surprised if there would be an early wedding. 

THE marriage of Dorothy Mackaill and Lothar Mendes gave 
everyone a lot to talk about. Mendes was directing Dor- 
othy in "The Song of the Dragon'' when suddenly First 
National informed him that he would be replaced by Joe Boyle. 
As soon as Dorothy learned that the megaphone had been 
snatched from Lothar's hands, she announced her intention of 
marrying him, pronlo. Which she did, with romantic speed. 

Dorothy spent her honeymoon at the studio, working in the 
picture so suddenly deprived of Lothar's direction. And after a 
few brief weeks of married life, Lothar went to Hollywood, to 



^'0 






I^^Q 



Joseph Hergesheimer and H. L. Mencken show aspiring 
writers how to sell scripts to B. P. Schulberg. Just walk 
right in and tell him your story is the greatest ever written. 
Then try and prove it. It's easy — if you are Hergesheimer 
or Mencken. But others! 



accept a position with Famous Players-Lasky, it is said. Dor- 
oro thy will go West soon to make more pictures for First National. 

ON.\ BROWN rushed home from Hawaii upon hearing it 
whispered that she and Clarence Brown, the director, were 
separated. And Clarence, who became an honorary fire mar- 
shal in her absence, rushed to San Francisco to meet her. The 
gossip ceased with their fervid embrace at the dock. 

TD ICHARD DDC says he'dropped into a Broadway store to 
■^^look for a hat. 

An anxious young man dashed in. "Gimme a derby," he 
demanded. 

"What size?" asked the clerk. 

"Don't matter," answered the would-be buyer. 

"No size," gasped the bewildered clerk. 

"Naw," said the man. "It's for a trombone." 

BOB CUSTER and Anne Cudahy both admired fine horses, so 
they decided to get hitched for life and gallop down an eter- 
nal bridal path. Bob, in case you don't know, is a Kentuckian 
whose real name is Raymond Glenn, and .-Xnne is daughter of 
the late Jack Cudahy, wealthy Chicago packer. Bob carries his 
love of horses to the nlh degree. He is a Western hero who 
rides a mighty steed for F. B. O. gelatins. 

THERE is something about bobbed hair that makes 'em 
sassy. Consider Kathleen Key and Lois Wilson. Kathleen 
wore her hair long for years, because she was all tied up in the 
filming of "Ben-Hur" and she coiddn't change her coiffure in 
the middle of such an important film. Now Kathleen has 
treated herself to a shorty, boyish clip. 

" Why did I do it? " she asked. " That's simple. I got tired 
of playing the hero's good little sister. No more sister stuff for 
me." 

AND Lois Wilson has flatly and firmly refused to play the 
virtuous pioneer gal in any more Zane Grey western stories. 
Lois is through with being the flower of the desert. 

"I didn't bob my hair for nothing," announces Lois. "I am 
tired of being the good but dumb heroine." 

To tell the truth, an amazing change has struck Lois. Lois 
is now living in a smart apartment, wearing ultra-fashionable 
clothes and "doing" the night clubs. 

She has, to be blunt, turned too "hotsy totsy" for the 
estimable Zane Grey. 




Elinor Glyn's idea of the flapper of the 
future — demonstrated by Clara Bow. The 
new siren will be a cross between a nun and 
Queen Marie. And her appeal will be purely 
intellectual — almost, says our authority 



Richard Dix gave a party for Lois recently and that revived 
all the old engagements rumors. There were the usual weary 
denials from both parties concerned. 

ENGL.'^ND seems to be attracting our screen folk. Antonio 
Moreno has sailed across the ocean to play opposite Doro- 
thy Gish in a British film. And there is talk that Herbert 
Brenon may go to England to direct "Sorrell and Son" for 
Paramount. 

'T'HERE is a leading man whose face doesn't quite match. 
■^ That is to say, his profile, from the left, is merry and 
twinkling. 

And his profile from the right is sour and sad. 

"Do you know," his director told me, "that's the secret of 
the fellow's success? He has never done any real acting; 
he doesn't have to do any real acting. When you want him 
for a comedy scene, you photograph him from one angle. 
When you want him to register sorrow, you just turn him 
around." 

AFTER all, Mary Mc.Alister did pursue the right course. 
When in doubt the wisest thing to remark is "I have noth- 
ing to say." And that's just what Mary said when her friends 
questioned her about the huge square-cut diamond on the 
correct finger. 

" I have nothing to say," answered Mary, demurely, as is her 
way, so no one knows whether Mary and " Red " Grange are 
engaged. They do know that the fraternity pin from which 
dangles a little golden football is the gift of the pigskin kicker. 
"Red" and IMary played together in his first motion picture, 
you know. 

L.^DIES and gentlemen, the magnascopc! 
Broadway had its first glimpse of the new magnascope at 
the premiere of "Old Ironsides." 

Suddenly at the end of the first part of the picture, when the 
gallant old Constitution comes [ coxtinuxd on page 7S ] 





LORIA SWANSON has no fear of age — at least in motion 
pictures. She played a garish elderly female in "The Coast of 
Folly" and she is portraying a prematurely aged school teacher in 
her forthcoming film, "Sunya." However, Gloria has four other 
characterizations in "Sunya": an Eg>-ptian girl, a modern young 
woman, a prima donna and the wife of a millionaire. "Sunya" 
has a large cast — and Miss Swanson is a third of it. 



4S 




dam's 



Other 
Apple 



By Frank Condon 

Illustrated fa> R. Van Buren 

A studio apple and a 
Hollywood romance 
that ended as applesauce 




As Ben plodded down Hollywood Boulevard toward the studio, 

he encountered Charley Stimson, his deadly rival. "I'm 

lucky," Charley declared. "Your girl is engaged to me" 



THEY say," rem,Trked Mrs. Gillespie to her son Ben. 
over the supper dishes, "that Charley Stimson is going 
to marry Lola." 
Benny continued calmly to dip a triangle of bread 
into his tea, studying the moist result with interest. Mrs. 
Gillespie glanced up. 

"I said," she repeated mildly, "that they tell me Charley is 
going to marry Lola." 

"I heard you," answered Ben. "Maybe so. Charley's- a 
smart lad." 

"Yes, but Lola's too good for him," continued the mother. 

"Sure," Ben agreed. "Why don't we have green tea any 
more? Why is it we're always having black tea these days, 
when I hate black tea?" 

This shift in the conversation was immediately effective and 
Mrs. Gillespie went at once into the subject of tea and the out- 
rageous prices thereof, and from that to foods in general. She 
was, admittedl\', the finest cook in West Hollywood, a motherly, 
kindly soul and proud of her son. 

On the back porch of the Gillespie bungalow, Ben presently 
hghted a cigarette and stared at the moon. It was a large, silly- 
looking moon and Ben regarded it with grim hostility. 

"And maybe Charley Stimson won't marry Lola," he 
grunted. " Funnier things than that have happened." 

He uncoiled the garden hose and proceeded to water the lawn, 
for the flowers needed moisture and West Holl.\"wood was en- 
joying one of its dry spells. Watering the lawn gives a man time 
for serious reflection, and Ben had his problem, because, regard- 
less of Charley Stimson and his matrimonial plans, Ben had 
been in love with Lola Emory ever since he could remember: 
since the days in high school and even before. Charley had 
come into the arena later on. 



"I'll have a talk with her." Ben decided, dousing the ge- 
raniums. " This has gone far enough." 

The Gillespies knew and liked the Emor\-s and the Stimsons, 
and all three were peaceful and respectable families of West 
Hollywood. Each lived in a neat bungalow, with fancy lamps 
in the living room, flowers on the lawn and a flivver in the 
garage. Lately, the Stimsons had gone in for a brilliant eight- 
cylinder car, but that was because Charley was in the auto- 
mobile business, drawing sixty dollars a week and heading 
rapidly up. He i)elonged to the Business Men's Lunch, studied 
the rise and fall of money in New York and talked about bank 
clearings. 

Ben, on the other hand, was making twenty a week. He was 
a property man over at the studio, and there is no money in 
being a property man, although one has a chance to study the 
movies at close range and prepare for better things. 

Charley was four years older than Ben and had always been a 
hustler. When he settled into the automobile business the 
neighbors prophesied that he would end up rich, and Lola 
Emory was duly impressed, particularh- when Charles- drove 
around to the house one night in a sedan with red plush seats 
and a cut glass skolag full of flowers. 

"Fifty-five hundred." announced the proud Charley on that 
occasion. " There's a swell job, Lola." 

.\nd Lola, reclining in soft luxury, agreed that it was a swell 
job and that Charley Stimson was a go-getter, a man who would 
get somewhere in life and no mistake. 

Still and all, there w-as Ben for her to think about, and Ben 
unquestionably had his points. He w-as handsome, rosy- 
cheeked, bright-eyed and exuberant, and he had the curliest 
tow hair of any lad in Hollywood. .\lso. he knew how to make 
love, which is always a desirable thing in a young man. Charley 

49 



didn't. Charley talked to a girl without excitement, using prac- 
tical words and discussing problems such as life insurance, wall 
paper, drj' cellars and the advantage of not having children for 
the first six years. 

But when Ben Gillespie talked of an evening, graceful things 
came to his tongue, the delightful nonsense a girl likes to hear, 
and there was a romantic magic about him 
that Charley lacked utterly. Charley talked 
facts, but Ben was likely to hold Lola's hand 
and tell her that her eyes were strangely 
beautiful and that her hair glinted in the sun- 
shine like the fluffy side of an angel's wing. 
He was accustomed to vowing that her voice, 
just her ordinary tone, was as the lilting of 
heavenly flutes, which is not a sensible state- 
ment, of course, but which has its value in the 
moonlight. 

"Do you like Charley better than 30U do 
me?" Ben asked, not once, but with the ardent 
repetition of infatuated youth. 

" I don't know." Lola replied. " Sometimes, 
I'm sure I like you better. You appeal more 
to my spiritual nature. Of course, Charley's 
simply grand to me. I know lie loves me. 
Why, he'd give me anything in the world that 
I wanted." 

"So would I," said Ben. "And you know- 
darned well, I love you. Gee whiz, Lola, you 
know that." 

"I'm never so sure about you. Charley 
would cut off his right hand for me, but some- 
times I think you're not serious when you're 
talking tome." 

"I'm clear crazy about you, Lola. I'm not 
making much now, but I will be later on. I 
want you to marry me, but not until I can 
give you fine things to make you happy, and 
that can't be done on my pay." 

"I know it," agreed Lola. "Let's wait." 

So they waited, and now it was being noised 
in the neighborhood that Lola was intending 
to marry Charley Stimson, which, as Ben 
viewed it, was ridiculous. The flowers being 
thoroughly watered, he laid aside the hose, 
passed into the house, and after making sure 
his mother was out of hearing, he telephoned 
Lola. 

" I'd like to come over tomorrow night," he 
said. 

" Fine," said Lola, in her pleasantest man- 
ner. "I'll be glad to see you, Ben. You've 
been neglecting me lately." 

" Well, you got Charley, haven't you?" 
jokingly. 

"Don't be silly," said Lola, which means 
anything, anywhere, any time, when said by 
any girl. 

YOUNG Ben Gillespie kissed his mother 
after breakfast and hurried off to the 
studio with the unpainted fence, where he 
changed into blue overalls and a shop sweater 
and was ready for the day's serious work. He 
was connected with a drama company, which, 
at the moment, was engrossed in the spectacular complications 
of a motion picture portraying life in high society. 

The director was Luke Couzens, who knows all about butlers, 
what wines to pour at a formal dinner and whether a gentleman 
should keep his gloves on when calling upon a lady. The male 
star was \'ictor Jloody, famous in Celluloidia for his chaste 
profile, and the lady star was Marian Reynolds, who has 
risen so swiftly to success that she no longer consorts with or 
recognizes the lowly bathing girls with whom she started and 
who showed her how to plaster on the yellow make-up. 

The company was ready to begin and Ben unlocked a drawer 
in the property room and drew forth therefrom a red apple, 
which he examined with a critical e\e and carefully polished 
by rubbing its glossy hide against his sleeve. He had been admir- 
ing and polishing the apple for two days, waiting patiently for 
the moment when it would be needed in the picture. 

Director Couzens, a stickler for perfection, had first spoken 
to him about it. 

50 



-i 




" Go out and get an apple," he commanded in the lofty man- 
ner of true directors, "and have it ready for Miss Reynolds." 

" Yes, sir." said Ben. 

"A fine, big, red apple," continued the chief, "because I'm 
going to have Miss Reynolds give it to Mr. Moody in their big 
love scene by the fire-place." 

" Yes, sir," said Ben. 

".\nd I'm not going to take any close-up of this apple," in- 
structed the director, "30 I want it to be large enough to show 
that it is a red apple, even in the long shot. I mean, an un- 
usually good apple." 

"Yes, sir." said Ben Gillespie, feeling a glow of pride at the 
thought of being thus entrusted with a small, but obviously im- 
portant detail. 

"I'll shoot that tomorrow." Couzens said, and so, at the hour 
of lunch, on the day of the first apple t.alk, young Ben removed 
his studio overalls and sallied forth into the byways of Holly- 
wood, seeking an apple fit for its part; a regal apple, with 



Ben showed the perfect fruit ready for 
tomorrow's scene. "Give me that apple»" 
Lola said, "or I shall marry Charley 
Stimson. He will always give me what I 
want." Poor Ben was torn between love 
and duty 




a shining skin; a spotless, speckless, robust apple, perfect fruit 
of some perfect tree and worthy to lie gleaming in the damask 
palm of lovely Miss Reynolds and be handed to Mr. IMoody in 
a long shot. Not many apples can be thus captured iii long 
shots. The ordinary apple requires a flash of close-u|>, else the 
customers in the Little Gem Theater later on cannot lell with 
certainty whether the lady is handing the gentleman an arti- 
choke or the knob of a door. 

Of course, the lady could say in a subtitle: "Sir Gregory, 
here is a rosy apple." but that is an obsolete manner of making 
movies, and Luke Couzens is the last man in the world lo sloop 
to such clumsiness. 

Ben Gillespie searched high and low among the fruit dealers 
of the Boule' Hollywood, scanning their wares with a sh;irp eye, 



and at the finest of 
bananas, pomegran- 
ates, apricots, nuts, 
peaches and apples; 
and there, hiding away 
behind a little igloo of 
lesser fruit, was the 
loveliest, largest and shiningest 
apple Ben had ever seen. It 
was, as the Italian explained, a 
splendid and rare thing. 

"That's the one," Ben de- 
clared. "How much?" 
"Thirty cents." 
"Pretty stiff for just an 
apple, isn't it?" 

"Yes," replied the smiling 

son of Napoli, "but there are 

few apples like this. See, I 

have no other quite like it. It 

is not often seen in Hollywood, and it is called the Scarlet 

Nonpareil." 

"I'll take it," Ben announced, and the deal. was consum- 
mated. 



IN the afternoon, at the studio, Ben displayed his paragon 
apple and it was admired. Mr. Couzens approved, with a 
word of commendation. Miss Martha Dickenson, the hard- 
working script girl, declared it to be the finest apple ever used 
in a movie. 

"When does that scene come?" Ben naturally inquired. 

"In a little while," answered Martha, looking through her 
pages and indicating the love scene at the fire-place. "We will 
probably shoot the apple business late this afternoon." 

Of course, Ben had other duties, but the Scarlet Nonpareil 
remained in his pocket, ready for [ co.vtixued on page in ] 

51 



THE NATIONAL GUIDE TO MOTION PICTURES 




The 

Shadow 
Stage 



THE NIGHT OF LOVE-Goldivyn-United Artists A B^eVieW of tJlC J^eiV PiCtUTeS 



" npHE Night of Love " is full of beauty, emotional thrills, 

1. and good acting, and, praise be, it is a new story. 

Vilma Banky is ravishingly beautiful and Ronald Colman 

is the perfect gypsy hero. What a combination, those two. 

It's a gypsy story of the seventeenth century, but do not 

let that stop you, for it grips you from the first foot of 

film until the last. It's over all too soon. The tale is woven 

around the feudal right of the Duke of a Spanish province 

to hold all brides at his castle on their wedding day while 

the poor vassal groom gnashes his teeth in rage, and 

iMontagu Love plays the Diikc with such realism that 

you're unhappy until the gypsy lover puts an end to his 

rascaUy life. George Fitzmaurice's direction is exquisite. 

Don't miss this. 




FLESH AND THE DEVIL— Mctro-Golduyn-Mayer 

HERE is- the picture filmed when the romance of Jack 
Gilbert and Greta Garbo (see Jack's story in this issue) 
was at its height. Naturally, the love scenes (and there arc 
several thousand feet of them) are smolderingly fervent. 

Based upon Sudermann's "The Undying Past," the tale 
revolves around the devastating Fdicilas, wife of an elderly 
count. FcJkilas is one of those sirens who move through 
life with the destructiveness of a Missouri cyclone. She is 
faithless to her husband and she well-nigh breaks up the 
life-long friendship of Leo and I'lrich. Indeed, she dies, 
just as the boyhood pals face each other in a duel. Miss 
Garbo gives a flashing performance of Fdicilas, Gilbert is a 
dashing Leo, although he does overshade some of his scenes, 
and Lars Hansen is excellent as I'Irieh. 

52 




OLD IRONSIDES— Paramount 

JAMES CRU7.E need not care who makes the laws of this 
country as long as he can make its historical films. "Old 
Ironsides "pictures this country's pioneering as a sea power, 
just as "The Covered Wagon" showed our winning of a 
land empire. 

It's a glorious story of a glorious achievement. The hero 
is the frigate Constiluiion, the lone vessel that freed the 
sea of Tripolitan pirates. The heroine is the barque, Esther, 
rescued by the CoiislHulion, from the pirates. There is a 
human love story, too, a poetic romance of a landlubberly 
boy and a girl who is the embodiment of the sea. .\nd there 
is gorgeous comedy in the adventures of two sailors and a 
colored cook, played with salty gusto by Wallace Beery, 
George Bancroft and George Godfrey. .\lso on the honor 
roll are Charles Farrell, a newcomer, and Esther Ralston. 

The greatness of the film lies in Cruze's sure grasp of the 
principle involved — "Millions for defense but not one cent 
for tribute" — and in his uncanny ability in recreating the 
very spirit of the times. He makes you see .\merica as a 
yoimg and vital nation, before she was concerned in dollar 
diplomacy and Sunday School legislation. It's a stirring 
ideal and the screen ought to be proud to hold it before the 
public. 

A feature of the showing in New York is the Magnascope, 
a device that widens the screen to give more scope to the 
magnificent battle scenes. But "Old Ironsides" is in 
itself a magnascope, for films like this double the dimensions 
of the power and influence of the screen. 



SAVES YOUR PICTURE TIME AND MONEY 



The Six Best Pictures of the Month 

OLD IRONSIDES WHAT PRICE GLORY 

THE NIGHT OF LOVE 

FLESH AND THE DEVIL 

LOVE 'EM AND LEAVE 'EM 

TWINKLETOES 

The Best Performances of the Month 

Victor McLaglen in "What Price Glory" 

Wallace Beery in "Old Ironsides" 

Vilma Banky in " The Night of Love" 

George Bancroft in "Old Ironsides" 

Edmund Lowe in "What Price Glory" 

Colleen Moore in "Twinkletoes" 

Charles Farrell in "Old Ironsides" 

Lois Wilson in "The Great Gatsby" 

Montagu Love in " The Night of Love" 

Greta Garbo in "Flesh and the Devil" 

Casts of all pictures reviewed will he found on page 138 




WHAT PRICE GLORY— Fox 

A LOT of laurels are to be distributed on this film. First, 
William Fox and Winifred Shcehan deserve wreaths for 
filming "What Price Glory" when everyone said that it 
couldn't be done satisfactorily. Raoul Walsh, the director, 
must get a large share of the credit for his sincere handling 
of the picture. A lot of credit goes to the cast. At least one 
member of it, Victor McLaglen, emerges from "What Price 
Glory" to stardom. 

"What Price Glory" follows the original stage play of 
Ma-xwell Anderson and Laurence Stallings with surprising 
fidelity. Just after the Broadway hit of this play, Metro 
commissioned Stallings to write an original war story. 
"The Big Parade" was the final result. However, "What 
Price Glory" reaches the screen after its offspring. 

As a spoken play, "What Price Glory" attracted instant 
attention because of its caustic and bitter shafts aimed at the 
futility of war. The drama, too, was studded with profanity. 
.\ spade was called a spade in every other line. The film 
version follows the spoken play In presenting the life-time 
enmity of two marines. Most of the clashes have been over 
girls. In France the old flame bursts out again over a 
peasant gir], Chat'inaiue. 

The profanity of the hardboiled marines' conversation 
remains entirely in pantomime, however. Director Walsh 
has developed his story with a great deal of power. The 
scene in the dressing station after the battle is highly com- 
pelling. Aside from McLaglen, praise goes to Edmund 
Lowe, Leslie Fenton, Dolores del Rio and Barry Norton. 




LOVE 'EM AND LEAVE 'EM— ^Paramount 

YOU have seen life "back stage" at everything from the 
Follies to the royal courts. Here's an amusing yarn of 
what goes on out of sight behind the counters of a big dc- 
liartment store. 

There are two sisters: one hard working and self sacri- 
ficing; the other a cute, spoiled and unscrupulous little 
grafter. The hero is a window dresser. Through the back- 
ground stal'K ilirtative floor walkers, girl welfare workers 
and all the rest of a big store's personnel. 

Evelyn Brent is very satisfying as the good sister, while 
Louise Brooks romps away with a hit as the hardboiled 
Janic. This Miss Brooks is beginning to act. Still, what's 
the difference? She goes to the store's masquerade ball as 
something decorative sans skirts. And she does a Charleston ! 




TWINKLETOES— First National 

THE promises given by Colleen Moore in "So Big" have 
been made good in this screen version of Thomas 
Burke's story. The picture itself is an achievement, its 
delicate romance growing like a lily against the wicked back- 
ground of London's Limehouse. 

Miss Moore's characterization is a work of art. The 
subtle yet deep change in Ticiiiks after she realizes her love 
for Clinch, the tender pathos of the scenes with her father, 
the gay comedy, the despair of her disillusionment and the 
tragic fear as she faces Chuck's unveiled lust in the theater 
manager's rooms, are done as only a dramatic artist could 
do them. 

Kenneth Harlan gives the performance of his career as 
Chuck. 

2 53 



STRANDED 
IN PARIS— 
Paramount 




THE FLAM- 
ING FOREST 

Metro- 

Goldwyn- 

Mayer 



YES sir, this is our Bcbe at her best, going it a smile a 
minute. Bebe starts as a clock puncher in a department 
store. She spends two dollars for a book on concentration and 
when she sees a free ticket to Paris promised a lucky girl she 
believes she'll get it and, by gosh, she does. There her purse is 
stolen, her suit case swiped. Due to mistaken identity, she 
gets the title "Countess" and a bunch of gorgeous clothes. Ford 
Sterling is the count. Need we sav more? See this. 



TffIS James Oliver Curwood yarn of the Northwest has epic 
pretentions — but that's all. It starts out to show how the 
Royal Mounted began and reveals the first officer to be torn 
between love and duty. Stilted, unreal and conventionally 
directed. Even Rence Adoree is unconvincing as the girl. 
Tony Moreno is the Royal Mounted sergeant. Gardner James 
overacts as the heroine's dim-witted brother. The cameraman, 
Percy Hilburn, alone emerges with glory. 



THE EAGLE 
OF THE 
SEA— 
Paramount 




THE CITY— 

Fox 



OLD lace and crinoline, swashbucklers and ships, masked 
balls and love in the moonlight, these are *'The Eagle of 
the Sea." The story is a weU-plotted tale of the love of a 
handsome pirate for a beautiful New Orleans lady. Frank 
Lloyd's direction is very good. Florence Vidor and Ricardo 
Cortez head the cast, but somehow the production doesn't make 
the grade. There is a pleasant hour's entertainment here, but 
somewhere in the making, the thrills got lost. 



TAKEN in its entirety this piece is pretty slim film nourish- 
ment. .\ family from a small town move to the big city. 
The son runs for public oflice and is blackmailed by a friend of 
his father's. -All the vices of the big city are depicted, and not 
until the family return to the rural country town do they find 
peace and happiness. We have seen better entertainment. 
Robert Frazer, May Allison, Walter McGrail and Nancy Nash 
are in the cast. 



THE GREAT 

GATSBY— 

Paramount 




GOD GAVE 
ME TWENTY 
CENTS— 
Paramount 



F SCOTT FITZGERALD'S novel of the great war's after- 
• math presented unusual film difficulties. Herbert Brenon, 
the director, has managed to retain much of the feeling of the 
story. Galshy comes out of the war to achieve a fortune unscru- 
pulously. He falls, of course, in the end, finding that happiness 
can't be won that way. Lois Wilson runs away with the film 
as the jazzy Daisy Buchanan who flashes cocktails and silken 
you-know-she-wears-'cms. 

5i 



ACH.XNCE for something fine kiUed by too much plot. 
Fancy all this — a bride, saved from suicide by finding two 
phoney dimes, dropped by the woman stealing her husband, 
gets trapped in the same police raid with the love thief, sent 
to the same hospital, weeps the same tears and whatnot. 
Coincidence can go no further. Herbert Brenon's direction 
and the sincere performances of Lois Moran and Jack Mulhall 
may make it worth while to you. 



TIN HATS— 

Metro- 

Gotdwyn- 

Mayer 




LADIES AT 
PLAY— 
First National 



EVERYBODY is doing comedies of the war and armistice 
days. This one is pretty good. Three buddies get lost 
from their regiment in Germany and are welcomed as the 
advance guard of the army of occupation. One of 'em, Conrad 
Nagel, wins a beautiful enemy baroness, otherwise Claire 
Windsor. There's a lot of comedy stuff in a trick castle. 
Nagel's pals are comedy privates. If you can take your 
probabilities or leave 'em alone, you will get laughs. 



SIX million dollars is the heroine's, provided she marries 
within three days a suitor approved by her horse and buggy 
aunts. .Some quick thinking on the part of the girl makes this 
one grand and glorious laugh from start to finish. Louise 
Fazenda and Ethel Wales, as the inebriated old-maid aunts, are 
the hit of the film. Titled, directed and acted in the finest 
style. You can't go wrong on this. It will provide you with 
a pleasant evening's entertainment. 



VALENCIA- 
Metro- 
Goldivyn- 
Mayer 




JUST 

ANOTHER 

BLONDE— 

First National 



FR.'\NKLY, one of the worst films of the year. No story and 
bad acting. Spain. A gay, gay dancer falls in love with a 
sailor but the sinister governor, who covets the gal, stalks into 
view. Nothing happens, save that Mae Murray gives a poor 
performance of Valencia. Lloyd Hughes, despite marcelled 
hair, is utterly miscast as the romantic seaman and Roy D'Arcy 
is almost funny as the highly dental governor. He's still hiding 
that other e.fpression. 



AN excellent director, Al Santell; four peppy principals, 
Dorothy Mackaill, Jack Jlulhall, Buster Collier and 
Louise Brooks; a fine title, yet "Just .\nother Blonde" is just 
another movie. The real plot must have got lost on the cutting 
room floor. It's chiefly about a woman hater who falls for the 
first girl he sees. Ah, well, now that the holidays are over, it 
will do you good to stay home and rest one evening for there'll 
be better movies. 



THE WHITE 

BLACK 

SHEEP— 

First National 




THE 

CANADIAN- 

Paraniount 



JUST another fair Barthelmess film drama. You've heard 
the plot before — the one about the strong sUent Enghsh- 
man, falsely accused, who goes into the desert and fights for 
dear old Britain — but that isn't the worst. Dick makes love, 
is tortured, saves a garrison and melts into a fade-out with 
Patsy Ruth MiUer. The action is packed with hokum thrills. 
Dull and badly ^directed. How much Barthelmess needs a 
good picture! 



HERE'S Tommie Jleighan, as a Canadian farmer, though 
there is really nothing of consequence in this tid-bit. The 
direction and acting are good but the story has no objective — 
with the result that it relies on the appeal of its star for its 
popularity. The love sequence becomes sloppily sentimental — 
resembling the usual Glyn affair — that there must be hatred 
and disillusionment before husband and wife love one another. 
If you like Tom, all right. 1 coNxixtiED on p.ige 124 ] 

2 JiS 



C~Xyow 



Mons. Wallace 
Beery shows you 
pink tea tricks 



Always cater to your guest's 
desires. "Two, three or four 
lumps?" signals Mons. Beery, 
the perfect host. "Nein," 
murmurs Herr Schimmel- 
strausser. "There ain't that 
many in the bowl," replies 
Mons. Beery and hands him 
tea, straight. Little courte- 
sies lil<e this are unfor- 
gettable 





Right: "Hasn't the weather been 
charming?" queries Mons. Beery, 
as he deftly thumbs his guest's tea. 
Regrettable as it is that our host 
has lost the tea-tester, etiquette 
demands him to risk scalded anat- 
omy to test the temperature 




"Cream?" demands Mons. 
Beery. "Cream? Say when!" 
Which is all right unless your 
guests demand lemon. 
That's another problem 



You Pour By Wallace Beery 




"What! No Oolong?" The 
guest wants Orange Pekoe. 
Does Mens. Beery unhook 
the napkin from his chin, 
uncrook his little finger and 
get it? He does not. "No 
Orange Pekoe," he smiles. 
' 'How about a little hot water, 
sweetened?" It is not the 
costly things, but such an in- 
expensive little gesture that 
marks the perfect host 



Left : Always make your gLiest feel 
at home, even at the risk of an eye. 
Mons. Beery' s guest is a glass eye 
salesman, drumming up a bit of 
trade. But our host, who is really 
an embalmer, has fooled him. The 
tea is flavored with strychnine 




If worse comes to worse, there 
is the saucer. Perhaps the 
guest wears spectacles and 
fears the spoon will crack the 
glass 




Nobod 



Lon Chaney has lost 
his own identity 




Ivan 
St. Johns 



SHE was a nice little thing. From 
Des Moines. Iowa, I think. And ver>' 
much interested in the movies. 
She had a letter of introduction 
from a pal in New York — one of those 
"She's a nice kid, show her a movie star" 
letters — so I was giving her and her mother 
lunch at the Montmartre. 

I pointed out Charlie Chaplin to her. 
Alice Terr>-, in a big, black picture hat, 
stopped and said hello to us. 

The girl from Iowa was so 
thrilled. May Allison and 
Blanche Sweet and Bessie 
Love, in bright sport things. 



h- 



e 



Few know where Lon Chaney 
lives. He makes no personal ap- 
pearances. He is Hollywood*s 
mystery man 

55 



y 



Lon Chaney is a man with 
a monomania — of make- 
up and characterization. 
He doesn't think of him- 
self. He has no other in- 
terest in life than to trans- 
form himself beyond 
recognition 



giggling and having as much fun as three school girls, waved across the dance floor. 

"Aren't they too sweet?" said the girl from Des Moines. 

I was glad Blanche couldn't hear her. 

Colleen Moore, made up for "Twinkletoes," floated past and the girl said, 
"She's my favorite." and stopped eating altogether. 

,\nd behind Colleen came a little man in a plain gray suit. The girl's eyes 
fluttered over him, past him, never even noticing him. 

"And that," I said, "is Lon Chaney." 

"Where?" eagerly asked the girl from Des Moines. 

So I pointed. It is perfectly proper to point when you are showing movie stars 
off to eastern visitors at the ilontmartre. Everyone e.i^pects it. It ruins their 
appetites if nobody points to them. 

"That man in the gray suit?" she asked. 

"Yes!" 

" But — he isn't a bit " [continced ox page 136 1 



The Story 

of 

Christ 

in pictures 



A LTHOUGH the picture is not yet compIeted,there 

/\ is the widest public interest in Cecil B. De 

/ \ Miile's production, "The King of Kings." Per- 

haps no picture ever made had such an intensely 

interested audience awaiting its appearance. In this 

great religious work, Mr. De Mille bridges the gulf 

between the church and the theater by filming a picture 

which expounds a spiritual ideal, as well as telling a 

human and dramatic story. 

Because of the importance of this new step in film 
making. Photoplay is presenting on these pages some 
of the impressive scenes from "The King of Kings." 




" Blessed are the Meek : for they shall 

inherit the earth" 

H. B. Warner as the Christus 




"Lazarus, Rise and Come Forth!" 
The Raising of Lazarus in the pres- 
ence of the Disciples Andrew, John, 
Simon and Matthew, and Mary and 
Martha of Bethany 



The 

Last 
Supper 



"This is M)i Body 
which is given 
for you: 

This do in Remem^ 
hrance ofMeF' 





"Get Thee Behind Me, Satan!" 

The Rich Stranger points to the riches and power and glory of this world 




ore 



Sinned Against 
than Sinning 



Before and after tak- 
ing the boat for 
America. Here is the 
local version of Lya 
de Putti 




Lya de Putti Explains 
Her Blemished Present 



By Ruth Waterbury 




I CAME to roast Lva but I staved to appraise 
her. 
For L>-a is human. Lya is charming, intel- 
ligent, and appealing, and certainly Lya has 
never been allowed to be any of that on our local 
screens. 

I had visions of sin and vice about Lya. Imported 
for the express purpose of destroying American 
males — before the camera, of course — the papers 
whispered much. They told of Lya's jumping out 
of her Berlin hotel window. They told of her tem- 
perament. The very syllables of her name connoted 
the exotic. All was set for her screen seductions 
which in "The Sorrows of Satan" and "The Prince 
of Tempters" were as suave and scented as hot 
afternoons in a boUer factory. I was fully prepared 
for a couple of house leopards, a tame cobra and 
Lya writhing in black satin. 

Instead she rushed in — heaven help the star tradi- 
tion, she was even on time — from the great out-of- 
doors which that day were doing their stuff in the 
form of a small blizzard— a tiny little girl in flat 
heeled shoes and a big fur coat, her eyes sparkling 
and her hair hung with snowflakes. 

Fancy a vamp hung with snowflakes! It seemed too bai 
be truel Fancy a vamp in flat heels and wool socks! Yet in 
that moment I understood Paramount's faith in Lya. Defin- 
itely, to meet her is to fall for her. 

A little luring is a dangerous thing, and somewhere in her 
career L>'a has acquired that fatal lure, the compelling, ego- 
tistic simplicity that marks the true artist. 

She rushed up to me. " I coom to you queek now to talk 
interview," she promised. " I haf been valking in this vonder- 
fool New York of yours. Looks, I haf on two sveater under my 
coat. Yust a moment. I get us coffee and cakes. Vait. I coom 
right avay." 

If Paramount can get in her [ continued o.\' page 128 ] 




This still from a German picture plainly shows 
things were easier on Lya abroad — the lights, 
for instance. Her bob is better and they didn't 
make her a vamp. Lya says, revealing the 
sharp line of her jaw, "Thees line, he is very 
bad. But they cut my hair over my ears joost 
the same" 



65 



Start the Year 




Heebee Jeebies? Visit 

the J. D.'s~ Doctors of 

Joy ~ in the bunch 

below. January's 

the month. 



Life seem dull? Gaze 
on this girlish gig- 
gle gusher, Audrey 
Ferris 



Here's old Doc. H. 

Lloyd, the best 

blues banisher in 

the world 



» 



Reggy Denny. 
No tear can 
touch him. He 
brings Univer- 
sal joy 





Whoops! Try 
keeping sad at 
sight of a map 
like Billy Doo- 

ley's — and fail 



t. . 




The gentle- 
man mirth 
maker, Doug- 
las MacLean, 
prescribed for 
Aunt Sus and 
Cousin Nellie 



T was the comedy companies who starterl this. The\' named 
January laugh month. 

.4 new year. That's a laugh. Christmas behind you. That's 
another. No shopping to do for eleven months. Bills before 
you. What a laugh! Well, why not? You might as well laugh. It can't hurt you. 
It may do you some good. 

You can get sick if you don't laugh. You can get well if you do. It's a fact. 
Doctors are beginning to recognize it. A laugh is the best kind of safety valve for 
our overwrought systems. The ability to laugh takes the measure of a man's 
character. Who ever heard of a censor laughing? And look at the darn things! 

In our comple.f civilization, while our emotions go on secreting glandular fluids 
to keep our bodies running, we are called on more and more to curb our emotions. 
Result of such curbing, too much sugar in the blood, high blood pressure and lots 
of internal disturbances. Why, if you really want to get serious about this, 
hearken to Dr. William Estabrook Chancelor, former head of the schools in 
A\ ashington, D. C, and where can a laugh be more needed than in Washington, 
full as it is o'' prohibitionists and things. Says Dr. Chancelor, " There is a positive 
physical value to amusement. Work wears upon definite brain areas. These 
overworked areas need rest. They get it by laughter and joy. There are but two 
ways to avoid social friction. One is to relieve its causes and the other is to oil and 
patch the bearing. L.aughter does this." 

When you come from work all tired out, what do you do? If you're a man and 
married and have the kind of wife you've read about — the kind they say used to 
actually appear on earth no farther back than the Victorian era — you are pushed 



64 



With a Laugh 



Any movie theater's 
the place. They'll kid 
you until you can't 
take your liver 
pills seriously 



Old jokes? Not 
from Big Boy, the 
baby bandit of the 
mirth menagerie 




A funster from 
England — Lu- 
pino Lane — 
and highly 
amusing, old 
bean 



We know yon. 
Al St. John. 
You're Educa- 
tional also, 
just plain sob 
suicide 



gently into a big easy chair, your slippers are brought for you and you 
are supposed to rest. 

But do you? The evening paper or a magazine cannot always divert 
you. You don't want to be a self-starter in your recreation — maybe 
the effort of reading appears like work. 

So about nine o'clock you give up, go to bed and wake up the next morning at 
seven o'clock. But — not refreshed. Why? Because, while the body has been 
resting, the brain hasn't been having any fun. 

Now, if instead of going to bed, you had got into a congenial, merry crowd, and 
stayed up until midnight, or even later, you would have felt much better on the 
morrow. Fun as well as love makes the world go 'round. 

The best remedy for that tired feeling is a good laugh. 

But the merry crowd isn't always at hand. Besides, how do you know that the 
gang is going to be merry? Often a long-anticipated social gathering turns out to 
be a dud. 

So here the movie comedians hang out their shingles — J. D. — doctors of joy. 
There are 100,000,000 movie patrons each week attending the theaters in this 
countr\'. It's a poor movie that doesn't bring ten laughs. 

When body and spirit are weary, there's nothing quite as potent to dissipate the 
depression as the laugh makers of stage or motion picture. And when you seek out 
your favorite screen laugh-maker you know that you're going to be amused. 

A billion laughs a week in America. And we're the richest, healthiest nation on 
earth. Don't be sour-faced all your life. C'raon laugh, .^nd it's a great life if you 
keep on smiling. 



Wow ! Bobby 
Vernon. Clown 
and the world 
clowns with 
you, Bobby. 
Hamlet and 
you ham alone 





65 




OMETHING new in negligees. Or is it an exening gown? Anyway, 
the lady is Alberta \'aughn. IMiss \'aughn is the infectious comedienne 
who sneaked into popularity by way of a series entitled "The Adven- 
tures of Maizie." Maizie made such a hit that F. B. O. decided to star 
Alberta in more pretentious pictures. So you'll see her in "The Ador- 
able Deceiver" and "Uneasy Pa\-ments." 



66 



Adonis 

of the 

Argentine 



"^H 


■ln^ 




■,;;i^^^»- 


m 


'"Mi^fy^- . 







I 



By Dorothy Spensley 



COMMENCED to learn English when I was 
sixteen and studied it for your years," Barry 
Norton said, and an amused light slid through 
his brown eyes. 
He did not look like the "mother's boy" of 
"What Price Glory?" as he sat with his creamy 
yellow gloves, stitched, held carelessly in his hand. 
He looked young. Amazingly, gloriously youthful, 
yes, but not like the heartbroken little wounded 
soldier who staggered to the mouth of the dugout 
and said suddenly, beseechingly, "Stop the blood!" 
Nor did he look like the little warrior, dead upon 
that same floor, who forced tears to the eyes of the 
old campaigner. He looked like a kid in "What 
Price Glory?" A seventeen or eighteen year old 
kid. Today he looked like the boys you do not see 
on Main Street. He looked like Champs Elysees, 
or Fifth .\ venue or Bond Street. 

"It's the haircut," said Barry, whose real name 
is Alfredo de Biraben, running his forefinger above 
the tip of his ear. " Now I let it grow longer." It 
slopes to a dark point on his neck; a jagged aristo- 
cratic hairline shows in front. " In the picture they 
cut it off very short as they do in the army, .^nd 





Barry Norton of real life is not the ingenuous, pathetic young soldier you see on 

the screen. He is twenty-two years old— and an intelligent, distinguished and 

cosmopolitan Latin Youth 



Here is the "mother'sboy" 
of "What Price Glory?" 
For screen purposes his 
name is Barry Norton. But 
by birth, he is Alfredo de 
Biraben of South America 
— and Paris 



it made me look much younger." 

Barry is not old. At si.xteen, he 
says, he commenced to study Eng- 
lish. He studied it for four years. 

"That makes twenty," I sug- 
gested. 

Barry nodded. 

"And you have been two years 
in America?" 

"Yes." 

Barry is twenty-two. But such 
a twenty-two! Such a distin- 
guished, intelligent, twenty-two! 
Four years in Paris, two years in 
North America, the rest of a life 
spent in South America, in the 
Argentine, in that most cosmo- 
politan city — Buenos Aires, in 
Brazil, Peru, Bolivia. 

"My mother is from Paris. 
Jly father is from the Argentine, 
two generations. Before that, we 
are Spanish. He went to Paris 
and they came back, married, to 
Buenos Aires." 

[ CONTINUED ON PAGE I20 ] 

67 




A one-piece frock of flat crepe 
masquerading as two pieces, 
gracefully poises a flower of 
self-material on one shoulder, 
and uses clever sill: stitching 
to trim the bottom of the blouse. 
It nmi/ be ordered in tan. Pal- 
metto green or Queen blue 
(copen). Sizes 16-40. Price 
810.95 



There is inexpensive smartness 
for the more mature figure in this 
.flat crepe frock with UTOp-around 
closing. The surplice line is both 
slenderizing and graceful. It vmy 
be ordered in Palmetto green. 
Queen blue, cocoa or tan. Sizes 34- 
44- The price is exceptional for 
a J rod; of this type, being only 
S15.T5 



The slender girl- can find no 
more charming style than the 
peasant froet of flat crepe 
sketched above, trimmed with 
hand smocking and cross- 
stitching in gay colors. It 
may be ordered in Grecian 
rose, gooseberry green. Mother 
Goose tan or navy. Sizes 16, 
IS and 34-38. S10.95 



T> 



r e s s 



\J {^e a Star on an Extra's Income 
Through Photoplay's Shopping Service 



68 



'H^ Buy on Fi 



u. 



h'^^r^v. 



Hoiv to Order 

THIS Shopping hicrvice is for your benefit and we 
urge you to use it. Its facilities are at the dis- 
posal of every Photoplay reader, whether a sub- 
scriber or not. Send check or money order, together 
with size and color desired. Stamps \\iW not be 
accepted. No articles will be sent C. O. D. If you 
are not pleased with any purchase, return it 
immediately and your money will be refunded. 

IMPORTANT: Articles for credit or exchange 
must be sent direct to Photoplay Shopping Ser\'ice. 
221 West 57th Street, New York City, and not to 
the shop from which they were sent. 



¥ 



%:. 



Slim frocks require smart under- 
things, and the atlractire set above, 
of crepe de chine and lace, comes in 
flesh, peach , orchid, riile and blue. 
Sizes 32-38. S3.9S 




//I 





Deep silk fringe tnms this newest 
a'epe de chine negligee with a graceful 
cape hack, which is worthy nf an hon- 
ored place in any trousseau. It may 
be ordei'ed in any of the pastel shades 
in sizes frorti 34 to 44 ^ ^fxl costs only 
S10.95 



The young lady sketched at the ex- 
treme left is well equipped for tviuter 
sports. Her suede unndhreaker comes 
in green, brown or red, and her cordn- 
roy hiickers come in shades of green 
and brown to harmonize (not match) 
with the unndhreaker, or in grey tweed 
to contrast with the red inndbreaker. 
Windhreaker. sizes 34-44^ is priced at 
$13.75. Corduroy or tweed knickers 
in 24 to 34 waistband cost $3.95 



The umitry young lady's companion 
has been basking under Southejri sHes 
in a hand-dravm linen frock which 
comes in peach, orchid, green, copen 
and white. 16-18 and 36 to 44. 
Price only §5.50 



At right is another one of th/)se so- . 
smart snwcks, for which Photoplay 
readers clomor! This is of fine 
French cotton crepe, which requires no 
ironing, and is hand smocked and 
smartly cross-stitched. Practical and 
charming for home or office. Beavii- 
ful shades of green, rose, tcingerin^, 
copen or orchid. 34-44- $2-95 




"V-^' 



^' 







69 




^ 



M^ 



I 




1 oo^ Good 
to beTrue 



St. Conrad of HoUy^vood 
has much to live down 

By Dorothy Spensley 

MEN have been ruined by many things. Women, wine 
and song. But here is Conrad Xagel. His ruin was 
threatened by a trick phrase. A catch-line pounded 
out by some poor,' struggling, addle-brained, penny- 
pinching writer who called him "the model young man of 
Hollywood." 

Now being an ordinary model young man is lucrative and 
impressive. It smacks of Fifth Avenue and Bond Street and 
often lands one on the pages of "Vanity Fair," but being a 
"model young man," in the sense that was Conrad's, is 
practically ruinous. .\t least socially in Hollywood. 




A mean writer once labeled Conrad Nagel "the 
model young man of HoIljTvood." In spite of the 
fact that he has played in Elinor Glj-n stories, the 
label sticks. Nevertheless, Mr. Nagel feels that per- 
sonal morals — good or bad — are nobody's business. 
And he's more than just a good boy. He's a swim- 
mer, a golfer, a tennis player, as well as a fifty-two- 
Sundays-a-year church-goer 

70 



It inferred that Conrad was a demi-god. A cross between St. 
Francis of ,-\ssisi and BiUy Simday. . A praying picture actor 
with one hand on the Good Book and the other on the grease- 
paint. A paragon who was so good he should have died young. 
.\nd that's no way to ascend the primrose path of fame. 

Conrad leaned back in the swivel chair. A sighing squeak 
resulted and he rubbed his head where it had communed with 
the wall. His eyes were as blue as the sky through the patch of 
window. His shoes were brown. His hair was blond and 
curly. His suit was dark. A red line of mouth showed around 
his teeth and a small scar slid from the lower lip and was lost in 
tanned determined chin. 

" Look at Lew Cody," he said, just [ coNTiNtrED on p.4Ge i 23 ] 



Photoplay Magazine — Advertising Section 



Deautiful 

DuCHESSE 

cLGkk 



MONT 



on keeping a lovely skin 
• ^^atures gift to Yoiitli^ 



BEAUTY brilliant as crystal, 
shadowy as a fugitive moon- 
beam; the bearing of a woman, 
unconsciously proud of her dis- 
tinguished lineage — this is Maria 
Ruspoli, Duchesse de Gramont, 
acknowledged leader ot Parisian 
society. 

She moves in that exclusive 
circle which hunts and golfs in 
t\\t pares ot the French chateaux, 
dines and dances in the gracious "" 
houses on the Champs Elysees 
in Paris. But last year she vis- 
ited America where she was queen 
of the season at Palm Beach. 

The Duchesse de Gramont senses the 
importance of the thousand details that 
make up the perfect whole, that contribute 
to charm, to cachet ^ to distinction! 

THE creams she chooses for her skin like " the 
waxen whiteness of some tropic flower"^ 
does she select them, with meticulous care? In 
her own words, let her tell you! 

"A lovely skin and good colour are Nature's 
gift to youth but their possession must not be 
taken for granted. Rather they are to be pro- 
tected and preserved by dally care. Pond's Two 
Creams afford an exquisite means of giving pre- 
cisely the care a woman's skin requires today." 

Thus another beautiful woman of the social 
world offers praise to the Two famous Creams 
made by Pond's! Compounded with scientitit 
skill from precious ingredients, they should be 
used each day as follows: 

Pond's Cold Cream awards a thorough cleansing. 
It should be used ever}' night before retiring and 
during the day whenever the skin feels dusty 
and tired. Its fine oils penetrate the pores, bring- 






The Duchesse de Gramont 

leader of Parisian society, is the widow of the 
late Antoine Alfred Age'nor, Eleventh Due de 
Gramont^ of an important French family. 
Before her marriage the Duchesse was Maria 
Ruspoli^ of the family of the Princes Ruspoli. 
To left^ an ancient Italian Castle belonging 
to the Duchesse, its towers and battlements over- 
looking Lake Maggiore. 

ing to the surface all dust and powder. If the 
skin is dry, more Cream applied after the nightly 
cleansing, and left on until morning, will restore 
suppleness. 

Pond's Vanishing Cream a^ords an exquisitely 
soft finish; holds your powder long and so evenly; 
and keeps winds, dust and soot from chapping, 
and clogging your pores. It should be applied 
lightly after every Cold Cream cleansing except 
the bedtime one. 



Free Offer: 



Mail coupon for free sample 
tubes of Pond's Two Creams 

and instructions for using. 



These are the Two Creams dis- 
tinguished women have chosen. 

When you write to advertisers please mention PHOTCPLAT MAGAZINE. 



The Pond's Extract Company, Dept. P 
II4 Hudson Street, New York City 

Please send me your free tubes of Pond's 
Two Creams. 

Name 

Street 

City State 



speaking of Pictures By james r. qmrk 



I COXTIN'UED FROM PACE . 



TTHE American picture would never have reached its 
present high point had it not been for the foreign 
influence that today Europe regards as a menace to 
their commercial happiness. Up to the time that Italy 
produced "Caberia" and "Quo Vadis, " no American 
producer dared attempt anything approaching the 
magnitude of those fine pictures. "Passion" started 
the importation of German technicians, and, to quote 
Robert Kane, "the splendid camera angles of 'Variety' 
put the American studios on wheels." 

npHERE is no reason why England, where the con- 
■'■ troversy is warmest today, cannot take a lesson from 
this. Unless it is that they just do not know and will 
not learn how to make pictures. A real Englishman 
would never admit that. Who can say that it is im- 
possible that the nation that produced Chaucer, Shake- 
speare, Macauley, Scott, Byron, Dickens, Shelley, Wilde, 
Chesterton, Shaw, and Wells, cannot produce their rela- 
tive counterparts in motion pictures? 

XTOR is the explanation in atmospheric and climatic 
-'-^conditions. For it is being demonstrated that the 
improved technic of the films demands well equipped 
interior stages where lighting is under absolute control. 

The Fox company has just finished the interior scenes 
of "One Increasing Purpose" in their Hollywood 
studios after spending several months making the ex- 
teriors in London and rural England. There was no 
reason why that picture should not have been made by 
British producers. "Broken Blossoms," a story of the 
Limehouse District of London, also the work of a 
British author, Thomas Burke, was made, ninety-five 
per cent inside studios, by artificial light. 

The three best of the more recent German successes, 
"\'ariety," "The Last Laugh," and "Faust," have 
few scenes that were shot without artificial light. The 
proof is overwhelming. 



r^ EOGRAPH Y has nothing to do with it. Nor can 
^-'we claim it is a monopoly of brains. Nor right of 
disco%ery. Those four years, 1914, 1915, 1916, and 
1917, while England and France were devoting every 
ounce of energy to winning the war, set them back, but 
during those years the Germans went right along de- 
veloping the camera as a useful machine in the business 
of war, and settled right down to the business of mak- 
ing pictures immediately the armistice was signed. 

TT cannot be said that the American producer has 
-•-been inspired primarily by patriotic motives any more 
than Henry Ford has been in building his colossal 
factories and millions of flivvers to wave the emblem 
of Detroit on every thoroughfare of the known world. 

"p CONOMIC conditions, and the fact that America 
is seventy per cent of the world market, are vital 
considerations, but if the English government is so con- 
cerned with the trade influence of the motion picture, it 
is more in concert with the methods of their great em- 
pire builders of the past that they quit crying and use 
their best brains and gold to fight their way to a place 
on the screens of the world. 

/'^OME on, England, come on, France, come on,Ital>'! 
^-^Speaking as an American film fan, and I believe I 
have a closer contact with their expression than any 
individual with the exception of Will H. Hays, I can 
say that we do not carry a flag to the motion picture 
theater. We go there for entertainment, but if that 
entertainment does not make us glad we are living and 
does not touch our hearts, we are not going. 

TF you will make them, we American fans will pay to 
-'-see them, and relegate an equal number of stupid 
native productions to the ashcan. 

There's a "kontingent" system for you. 




THEIR LIFE STORY IN PICTURES 

HOUSANDS of families are now equipping themselves with small 
motion picture cameras. They are making their own films of children, 
friends, reunions. In the course of a few years they will have a 
marvelous diary, in pictures, of their happiest moments. With the 
March issue Photoplay is inaugurating a department ot service to 
the users of these cameras. Write to Photoplay and find out how 
to earn one of these cameras without its costing you a cent. 
Full details in March Photoplay. 



72 



Photoplay Magazine — Advertising Section 



73 




"I WAS ADVISED TO GIVE UP SWIMMING ON ACCOUNT 
OF STOMACH TROUBLE caused by a cold settling in my stomach. 
Then I tried Fleischmann's Yeast. Not only did it banish my indiges- 
tion but I am now in the best of health and enjoy my swimming more 
than ever." Helene Styles, Winnipeg, Man. 




"FOR TWO YEARS I WAS NEVER FREE FROM BOILS AND PIM- 
PLES, on my face, my neck and back. The doctor said if I would take YeasC 
and keep taking it he was sure I would have no more boils. I started right 
away taking Fleischmann's Yeast and my face became clearer, my pimples 
dried up. I have never had a boil since." 

Eugene Blackmer, Jr., Denver, Colo. 




"I WAS SUFFERING FROM AUTO-INTOXiCATiON. I 
was tired and listless. My whole system was poisoned. Nothing 
brought relief. Then I tried Fleischmann's Yeast and now I 
feel entirely well." Gladys L. Hall, Jacksonville, Fla. 



Health you stop 
to look at • • • 

They have conquered constipation, skia 
and stomach disorders, found glorious 
health — by means of one simple food 

Not a "cure-all," not a medicine — Fleischmann's 
Yeast is simply a remarkable tresh food. 

The millions of tiny active yeast plants in every 
cake invigorate the whole system. They aid di- 
gestion — clear the skin — banish the poisons of con- 
stipation. Where cathartics give only temporary 
relief, yeast strengthens the intestinal muscles and 
makes them healthy and active, daily releasing new 
stores of energy. 

Eat two or three cakes regularly every day, one 
before each meal: on crackers, in truit juices, water 
or milk — or just plain, in small pieces. For constipa- 
tion dissolve one cake in hot zi-ater {not scalding) before 
meals and at bedtime. Dangerous habit-forming cathar- 
tics will gradually become unnecessary. All grocers 
have Fleischmann's Yeast. Buy several cakes at a 
time — they will keep fresh in a cool dry place for 
two or three days. 

And let us send you a free copy of our latest book- 
let on Yeast for Health. Health Research Dept. 
26, The Fleischmann Company, 701 Washington 
Street, New York. 



^VB^ -^ 


^ 

^':»- 
«_^;^ 

■*.; 


UMimiii-^B^-- — 




1 



THIS FAMOUS FOOD tones up the entire system — 
aids digestion — clears the skin — banishes constipation. 



Wbcn you write to aUvertlsera please mention PHOTOPLAY MAGAZINE. 



A Saga of the Sea 



* 



^ A 





The Columbia leading the Henry 
Ford by a length in the race filmed 
for the Gloucester screen story 




THE ston.' of the Gloucester fishermen is to be 
told in films. John L. E. Pell, who wrote " Down 
to the Sea in Ships." the whaling epic filmed by 
the community of New Bedford, is the author of 
the Gloucester stor>-, to be shot with the co-operation of 
the ilassachusetts town and to be filmed and released 
by Film Booking Offices. 

Work has started on the picture, as yet untitled. The 
annual race between the crack fishing boats of the 
banks, this year between the Hairy Ford and the Colum- 
bia, was caught. These two schooners were selected as 
the fastest boats of the fishing fleet. Mr. Pell obtained 
the co-operation of the government in making the pic- 
ture, several coast guard vessels being utilized in filming 
the scenes. 

Just as ''Down to the Sea" told the old trade of whal- 
ing, the new story will show the romantic industry of 
deep sea fishing. 



The U. S. Coast Guard 
Boat 153, from which many 
of the shots of the race 
were made. W. J. Miller, 
cameraman, is in the bow. 
The Columbia, with Cap- 
tain Ben Pine as skipper, 
won from the Henry Ford. 
The annual races were 
shot on October 11 and 12 



The Columbia, here 
caught in what is termed 
a "spanking breeze," 
plays a stellar role in the 
Gloucester fishing pic- 
ture, having proven itself 
the fastest schooner of the 
big fishing fleet. The race 
will be one of the features 
of the screen production 



7 /, 



Photoi'Lay Magazine — Advertising Section 




I 



Made by 
the very method France uses for 
her finest toilet soaps 



From beautywise France ' ' 
the Gift of a Smooth Skin 

THE country that understands 
women — France! For centuries the 
whole world has looked to that beauty- 
wise land for fine toilet soaps! 

Small wonder that women wrote us, 
"Oh please make a soap as exquisite for 
our skin as fine French soap but not 
nearly, nearly as costly." 

It was because France knew that her incom- 
parable powders, perfumes, cosmetics, lose 
their magic if the skin itself is not smooth and 
exquisite, that years ago she developed her fa- 
mous method of making fine toilet soap. And — 
because the makers of Lux are the world's largest 





yesterday ^oc for a fine French soap 

Today the same hixury for just loc. 

Such a dear delight to have a luxurious 
personal soap without extravagance! Not 
one qualm of conscience — but the whole 
family using it freely for toilet and bath! 

For Face, Hands & Bath 



makers of soap — we were able to make "a soap as 
adorable as French soap but not so costly." 

We made Lux Toilet Soap— u'c made it h\ 
the very method France uses for her finest toilet 
soaps. Quite differently from the white soaps 
you are used to. 

The famous French method makes Lux Toilet 
Soap the firm fine-textured cake that your fingers 
recognize as true savon de toilette. Makes the 
creamy, bubbling lather, that even hard water 
can't quell, caress your skin — giving it the same 
satin-smooth feeling you used to adore after 
costly imported soap. Lux Toilet Soap tends 
your sbn the true French way! 

France with her passion for perfection — 
America with her genius for achievement! Ten 
cents for a cake of Lux Toilet Soap — generous, 
long lasting, delicately fragrant I Wherever toilet 
soap is sold you will find this savon de toilette for 
all the family. Lever Bros. Co., Cambridge, Mass. 




LUX TOILET SOAP 

When you write to advertisers please mention rHOTOPLAY MAGAZINE. 



The Real Valentino 




Jean Acker — the last 
woman to see Valentino 



Natacha Rambova — the 
victim of her own ambition 



Pola Negri — an enigmatic 
factor in his life 



THE man who, for many years, was closest in the confi- 
dence of Rudolph Valentino, has written a book. S. 
George UUman's tribute to his friend, "Valentino as I 
Knew Hira," is perhaps the truest estimate ever written 
of Valentino. Or that ever will be written. 

The publication of Mr. UUman's book clears up a mass of 
conflicting stories that surrounded the figure of Valentino. It 
was, one imagines, an ardent wish 
to paint a clear portrait of his 
friend that led Mr.UUman to write 
the book; to present him as he 
really was to a world that always 
loved him. 

The value of IMr. UUman's book 
lies, not only in his presentation of 
many anecdotes hitherto never 
related, but in its shrewd estimate 
of the persons and influences 
that surrounded this charming 
and magnetic Italian boy, who 
lived to become the greatest figure 
on the screen. 

Mr. UUman writes with praise- 
worthy candor and truthfulness. 
His estimates of the women who 
figured in Valentino's life are par- 
ticularly interesting. Of Jean 
Acker, he says: "His (Rudy's) 
marriage to Jean Acker lasted but 
a short time, yet, in spite of the 
fact that they were divorced, they 
remained friends, each always 
saying kindly and appreciative 
things about the other. Indeed, I 
may say that the grief of Jean 
Acker was one of the most genuine 
things I ever witnessed. Feeling 
that the end was so near, andknow- 
ing that Rudy's last wishes would 
have been even more kindly than 
those which he always manifested, 
I aUowed Jean Acker to come to 
his bedside. He was unconscious 
and knew no one. 




Mr. UUman's estimate of the beloved 

Valentino is perhaps the truest ever 

presented 



"She had been his companion on many occasions during this 
last visit to New York, and I realized that there was a growing 
friendliness between them such as is often remarkable with those 
who are about to die. Thus Jean Acker was the last woman to 
see Rudolph Valentino in life." 

To Natacha Rambova, Mr. Ullman is just, but hardly sym- 
pathetic. He admits her great power over Valentino and 
Rudy's great love for her. And 
he describes truthfully the causes 
that led to their tragic separa- 
tion. 

It was Miss Rambova's ambi- 
tion that caused the rift, Mr. Ull- 
man says. Her desire to become 
an important person in the movie 
world brought about all the 
trouble between them, according 
to Mr. UUman. 

Mr. UUman writes: "From a 
passionate interest in his future 
and a desire to promote his best 
interest, Rudy now began to ob- 
serve that her (Natacha's) fancy 
was straying into other paths and 
fastening itself to other objects 
and interests. A natural coldness 
now began to appear, which threw 
Natacha more and more upon her 
own resources. It caused her 
husband the most profound 
anguish, not only hurting, as it 
did, his natural male vanity, but 
injuring him in his deepest soul. 
He felt for the first time that his 
love was not appreciated, and he 
began to suspect that he had been 
married, not for himself alone, but 
partly as a means to an end. 

"And that end was, first and 
foremost, Natacha's overpower- 
ing, unalterable determination to 
be a figure which the motion pic- 
ture world could not ignore. That 

[ CONTINUED ON PAGE I42 ] 



E 'milk 



76 



Photoplay Mac.azine — Advertising Six iton 



n 



AMAZING EXHILARATION AFTER SHAVING 




Like a cold sho\ver! 



The men are all talking about what a 
delight Listerine is after shaving. 

It is impossible to describe its effect 
on you. All the thrill of a cold shower 
is there, with none of the trouble, and 
with a fraction of the time. 

It starts you off with a bang and 
the whole world looks 
brighter. Just try it and see, 
and find for yourself why 
we are not taking a chance 



LIST 



in risking our money to tell you. 
Douse it on, full strength, after the 
hot water. It closes the pores and 
draws up the muscles. 

You look younger — even {eel younger. 
And you are left with a nice feeling 
of safety — because Listerine 
insures you against possible 
infection. — L ambert 
P harmacal Co., St. 
Louis, U. S. A. 




INE 



— the safe antiseptic 



1 joit «rite tu ailvittlsers shw^.- iiietiliou PHOTOPLAY MAGAZINE. 



Studio News and Gossip — East and West [continued from pace 47; 



head on towards the camera, the curtains were 
drawn aside and the animated picture grew 
larger, until it tilled the whole screen, thirty by 
forty feet. 

The effect brought the first night audience 
to its feet. It is obtained by using a magnify- 
ing lens attached to a special projcclor. The 
magnascope was used not only for the first part 
climax but to present the big battle scenes. 

Famous Players is reported to ha\"e the mag- 
nascope sewed up through ownership and 
patents. The basic principle involves the use 
of a wide angle lens. 

THAT verj' lovely girl Kalherine Grant, 
whose beauty won her the title of Miss Los 
Angeles in 1922 and later won her a comedy 
contract, is slowly regaining health under the 
constant care of her mother and a trained 
nurse. It has been many months since an 
acute ner\'ous breakdown snatched her from a 
verv promising career and as yet no plans have 
been made for her return. Kathcrine must 
rest and wait until she is entirely well before 
she continues her picture work. 

MRS. FRED XIBLO (Enid Bennett) had a 
most charming party the other evening to 
welcome back to Hollywood her younger sister, 
Catherine Bennett, who has been on tour with 
Ruth Chatterton, playing Vniicc in "The 
Green Hat," It was quite a gala occasion, for 
Cath Bennett is one of the most popular mem- 
bers of Hollywood's younger set. Among the 
guests were Miss Chatterton and her husband, 
Ralph Forbes, Mr. and Mrs. Antonio Moreno, 
Mr. and Mrs. Joe Schenck {Norma Talmadge), 
Mr. and Mrs. Douglas MacLean. John Barr>'- 
more, Mr. and Mrs. Sidney Franklin, Charles 
Christie and Ivy Shilling, George Fitzmaurice, 



Mr. and Mrs. C Gardner Sullivan, Mr 
Mrs. Conrad Nagel, and Carl Schmidt. 



■p^ LLOYD SHELDON, in charge 

' of the Lasky scenario depart- 
ment, was taken ill recently, and 
Hope Loring, in his absence, filled 
his editorial shoes. Hope is the 
wifely half of the clever Louis Ligh- 
ton-Hope Loring story-writing team, 
and her first official act was to dictate 
a note to her husband, also at Lasky's, 
which read: 

"The only right thing you ever did 
was when you married me." 

S.\LLY O'NEIL, that sweet sprite of Ire- 
land whose name was Chotsie Noonan until 
some idiot changed it, got a five-year contract 
with Metro-(ioldw}Ti-JIayer for being a good 
little actress. \\'hich proves that long experi- 
ence on the screen doesn't mean a fat contract. 
Sally was discovered not long ago by Marshall 
Nciian and had never been before a camera. 

Don't take this as a heaven-sent message to 
come to Hollywood, even if you have cute 
C3'cs and dimpled elbows. Sally just had a 
mar\-elously lucky break. 

GLORIA'S leaving HoUy^vood. Turning us 
down flat for good and all. Her home, the 
one on that lovely corner in Beverh- Hills, is to 
be sold. It had a walk, sliding obliquely from 
the street to the great thick door, that was 
lined with tall cannas, red and yellow- in the 
summer, and with clumps of poinsettias, vi\-id 
in the fall. 

She's leaving it for a little bungalow atop a 



and New York sky-scraper, where the grass on the 
tiny plot in front of her door takes root in the 
ceiling downstairs. She's happy there with 
her Marquis. After all, that's what counts. 

yV BSOLVED of his cinema suis, 
Noah Beery is one of the finest 
men in pictures. Read what Ivan St. 
Johns wrote about him recently in 
this very publication. But maybe 
the little ten year old San Antonio kid 
hadn't seen the story. Anj^way he 
set out to convert Noah who was on 
"Rough Riders" location in Texas. 

Seeing Noah pacing the long ve- 
randah of the old southern hotel, the 
juvenile Billy Sunday walked up to 
him: 

"S-s-say, Mr. Beery. Will you go 
to church with me tomorrow?" 

Noah likes kids. He has a boy of 
his own. 

"Sure thing, lad. What time?" 

"I'll be here at ten minutes to 
eleven for you." 

It happened that the company had 
a ten o'clock location call the next 
morning and Beery was absent from 
the broad verandah at the appointed 
time. As the small soul - saver 
marched alone down the dusty road 
he was heard to mutter, "Might 0' 
known it. Can't do nothin* with a 
villain. Never do and never will keep 
their word." 

[ CONTINUED ON PAGE QO ] 



The Amateur 
IVlovie Producer 

WITH the March issue, PHOTOPLAY is inaugurating a 
new department of service to the makers of home 
and community movies. Thousands of families and clubs 
now own small motion picture cameras of their own. The 
making of personal movies is proving one of the greatest 
innovations in home entertainment and education. It bids 
fair to equal the radio in popularity. 

Q The new department will be brim full of practical advice 
and suggestions. 

Q If j'ou don't own a camera of your own, PHOTOPLAY 
will tell you how you can earn one without a cent of cost 
to yourself. 

Better order your March Photoplay no^v! 

78 




Claire Windsor mid her camera 

Watch the March 

Photoplay 

for announcement 

of the first 

big prize contest 

for amateur 
movie producers! 




'• '* 



'm <^ 



^ 



IV* 



A Hint WorthTaking 



When the chill blasts of winter 
keep you inside, there's always 
cozy comfort with Baby Rutll 
around. 

The whole family — grandma, 
dad and mother, the young folks, 
even the tiniest tot — enjoys this 
delicious candy and finds real 



nourishment and health-build- 
ing energy in its wholesome 
goodness. 

Baby Ruth more f uUy meets 
the popular favor than any 
other candy, at any price. Try 
it yourself! You'll heartily en- 
joy it! 



CUKnSS CANDY COMPANY. CHICAGO 

Otco Y. SchniTins, President 

Condi] JMakirs to the J/lmencan JVafioiL, 



'CVRTISS^ 



iabyRuth 



America's FavorMe 



m^^^ 




>VHJE l^C XCTETH 




WHAT DID THE DENTISTS SAY? 

J% t6€ /i-truuM, COM 0^ JKCbbuty- a/id 6calt/i. oMJAotutlM fxm ln4lj>t 
oa tM URpcyUojia of ptcrUjctiagi- ^^Mc ^cuiqz^ Jlrxc piom cuxgU 



For years E. R. Squibb & Sons have 
issued warning that the line where 
gums and teeth meet is in reality 
The Danger Line. That acids form- 
ing in the crevices along The Dan- 
ger Line — particularly between the 
teeth — strike the most treacherous 
blow to your teeth and gums. 

However, because of the confu- 
sion caused by dozens of conflict- 
ing theories — and because we be- 
lieved the public should receive 
confirmation on a question of such 
importance — we decided to bring 
the matter before the only real 
existing authority, the dental pro- 
fession itself. So we went to one of 
the greatest dental clinics in the 
world — where every year more than 
100,000 treatments are given. We 
also asked practicing dentists every- 
where to state the result of tlieir 
experience. From both sources we 
obtained almost unanimous agree- 
ment on the following facts: 



(1) Acids are the most frequent cause of 
decay and gum infection. 

(2) The most serious trouble occurs at 
the place where teeth meet gums — 
known as The Danger Line — espe- 
cially at that part of The Danger Line 
between the teeth where a tooth-brush 
cannot reach. 

(3) The best product known to prevent 
these acids from causing decay and 
irritating the gum tissues is Milk of 
Magnesia. 

Isn't it logical, then, that Squibb's 
Dental Cream, because it contains 
more than 50% of Squibb's Milk 
of Magnesia in a most convenient 
and effective form, will definitely 

© 1927 



S(il)IRK'S 



l>h N I Al, 



( : K h: A M 



help prevent the danger that 
menaces your teeth and gums? 

Squibb's Dental Cream goes even 
further. Other tooth pastes may 
contain Milk of Magnesia and still 
not combine the other ingredients 
necessary to clean and care for your 
teeth and gums properly. 

Squibb's Dental Cream cleans 
thoroughly, beautifully and safely. 
It relieves sensitive teeth and 
soothes sore gums. You can safely 
use it to brush the gums — which 
dentists say is very necessary — for 
it contains no grit. It will not harm 
the most delicate gum tissue. 

Each time you use Squibb's Den- 
tal Cream tiny particles of Squibb's 
Milk of Magnesia are forced into 
every pit and crevice where acids 
can form. There they not only 
neutralize these acids, but remain 
to give protection long afterwards. 

Squibb's Dental Cream is on sale 
at all druggists — 40c a large tube. 




Million 

and One 
Nights 



TERRY RAMSAYE'S history of the motion pic- 
ture, "A Million and One Nights," has just been 
issued in two volumes by the New York publishers, 
Simon and Schuster. This is "The Romantic His- 
tory of the Rfotion Picture," which was published in 
Photoplay R[agazine during the course of four years, 
1922, 1923, 1924 and 1925, and which caused such a 
sensation in the film and publishing world. 

In its March, 1922, issue. Photoplay announced Mr. 
Ramsaye's history as follows: 

"It is a romance transcending fiction; a tale of more 
wealth and color than a Klondyke or a Kimberly; more 
daring than the Spanish Jlain, more splendor than a 
Rome and as much humanity as the heart of the world 
contains. 

" Seeking a writer most effectively equipped by a com- 
bination of experience and craftsmanship. Photoplay has 
commissioned Terry Ramsaye to perform this work, 
which has now been in progress nearly a year. Mr. Ram- 
saye is among the most authoritative of the writers on 
the motion picture — young enough to have the viewpoint 
of today, old enough to have an intimate personal contact 
with the motion picture through the period of its greatest 
and most significant development." 

Mr. Ramsaye's Romantic History lived up to the significant 
announcement of Photoplay. It was a sensation in every 
sense of the word. Mr. Ramsaye's original commission called 
for twelve articles. It was soon apparent that the subject 
could not be covered adequately in twelve or even twenty-four 
articles. So the history ran finally to thirty-six installments, 
concluding in the issue of March, 1925. 

Thus Mr. Ramsaye devoted five years to the actual prepara- 
tion of the first draft. Photoplay had commissioned Mr. 
Ramsaye to get a complete story. This required trips from 
coast to coast, and to Europe, endless correspondence, thou- 
sands of interviews, month after month of research through old 
newspaper and letter files. The immensely valuable files of 




Terry Ramsaye 

Whose Romantic History of the Motion Picture has just 

been published in book form 



Photoplay, extending back into the dim first days of pictures, 
played an important part in the history. 

Now Mr. Ramsaye's history is published in book form, a 
superb example of typography and binding. Every person 
with a genuine and honest interest in motion pictures should 
have it, since it will prove of unceasing value as a reference 
work and of high interest as reading matter. 

Many of the incidents related in the Romantic History are 
expanded in "The Million and One Nights." With the publi- 
cation of the Romantic History in Photoplay, thousands of 
new suggestions and new facts were offered to this magazine 
and to Mr. Ramsaye. One of the most interesting new chap- 
ters concerns the poignant life story of Eadweard Muybridge, 
whose experiments with cameras in photographing the move- 
ments of a running horse contributed so much to the early de- 
velopment of the motion picture. Back | continued on pace 127 ] 



A.nnouncing — 

LITTLE JOURNEYS TO THE HOMES OF THE FILM GREAT 

ERRY RAMSAYE, author of "A Million and One Nights," is start- 
ing a new and sensational series in PHOTOPLAY. "Little Journeys 
to the Homes of the Film Great" will present for the first time the real, 
authentic stories of the men behind motion pictures, actually as they 
are, in their own homes. Mr. Ramsaye will take you to visit 
Adolph Zukor, Richard Rowland, Marcus Loew and the other 
leaders in picture making. His stories will be of absorbing interest. 




SI 



Friendly 
Advice on 

froblems 



from 



Carolyn Van Wyck 




DEAR CAROLVX VAN ^VVCK, 
What do you think of gold-diggers? 
Do you think a girl should be one? I 
was brought up in the countrj' and taught no 
nice girl would take gifts from a man. unless 
she was engaged to him, much less deliberately 
work him for presents. Now I am alone, a 
working girl in a large city. The girls in my 
office are constanth' augmenting their incomes 
through men's pocketbooks. and getting away 
with it. They call me an idiot for not doing 
the same. What do you think? 

M. A. B. 

Whether or not to be a gold-digger! What 
a modem girl's problem that is! I get so many 
letters about it from so many girls dazzled by 
the apparent glamour of such a graft. There 
has been the tremendous success of "Gentle- 
men Prefer Blondes" with its hard-boiled 
Lorelei Lee to give this emphasis, and many a 
girl has recognized the bitter truth of Lorelei's 
obser\'ation that a kiss on the hand is thrilling, 
but a diamond bracelet lasts forever. 

This gold-digger vogue marks an advance in 
practicality in women and a coming out in the 
open about their real intentions. It's much 
like the "to pet or not to pet" problem, only 
in this instance it advances to being "to pet 
profitably or to have a little romance." It is 
the business of a girl commercializing her 
social Ufe as well as her working one. 

When mothers told their daughters not to 
take presents from men unless they were en- 
gaged, I do think, with all due respect to those 
worthy mothers, that somewhere in back of 
that was the idea that the main thing was to 
get married and all other pleasures had to stay 
in line with the main objective. Today the 
value changes, since no girl need marry un- 
less she wants to. 

Yet old-fashioned as it may seem, I favor 
romance. There are styles in moods, as well 
as other things, and, at the moment, the vogue 
is to be a little hard and most unsentimental. 
But down underneath, no matter what the out- 
ward manifestation may be, human emotions 



do not alter very much. Life and death and 
hunger still rule hfe, and love still remains the 
most wonderful thing in the world. Even the 
littlest moment of romance makes life worth 
the living, and romance and gold-digging are 
quite impossible together. Gold-digging is se.x 
against sex, the male being made to give too 
much, the female refusing everything. You 



GOLD-DIGGING 

Is This Month's Problem 

TT looks so fascinating from the 
•^outside with its twin promises 
for getting rich quick and gaining 
something for nothing. This 
month I am answering the ques- 
tions of the girls who ask if the 
game is worth the scandal. 

Complexions facing wintry 
winds need extra care. Send me 
your name and address and I will 
forward you my booklet on the 
care of the skin. Or if you're 
overweight ten cents will bring 
you my little booklet on sane 
reducing. CAROLYN VAN WYCK 



simply can't get romance out of such a combi- 
nation. 

Regarding gold-digging simply as a money 
making scheme, I don't think its price is worth 
the spoils. 

Take the ambitious little girl earning twenty 
dollars a week and the big butter and egg man 
who hints at diamonds. Actually few girls get 
the diamonds. The bait is alwavs there and the 



traps are set. It becomes a warfare between 
the two to see which will outwit the other. 
The girl puts into her campaign a subdety, a 
driving force, an actual amount of headwork 
that I believe, translatedtoher job, would make 
her an executive in a year's time. The man, 
particularly if he is a man of the world, puts 
intelligence into the game, too, and you have 
only to read the records of the police courts to 
know how very frequently the whole thing 
ends in disaster for the girl involved. But that 
is the unsuccessful side of gold-digging that 
isn't generally talked about. 

I know in New York City a woman who 
has made marriage her career. She has mar- 
ried three times, with two divorces, and each 
alliance has been plotted out as strategically 
as a general plans a battle. W'ith each mar- 
riage, she has gone up in the financial scale. 
Today at forty she has many jewels, motors 
and a beautiful home. She started out as a 
stenographer and she has attained just what 
she wanted. Yet it has tak^n her some twenty- 
two years and in all that time she has never 
once permitted herself the luxurj' of love or of 
friends. She always had to watch out for 
other women. She could never be friends with 
men, intending always to victimize them. 
Telling me her story, she confessed she had 
never once, in all those years, expressed her 
true opinions or her terrible boredom ^dth the 
life she led. Her life has been as lonely as that 
of any other capitalist. She had beaut^^ and 
a shrewd mind to aid her, but today she is 
bitter, hating all people and particularly men, 
hated in turn by her three li\-ing husbands, 
childless. 

She says withcertain pride that she won these 
things through gold-digging. I maintain that 
such a woman with her energy and dri\dng 
force could have earned these same material 
things in the business world and not have lost 
every spiritual value. 

So, there, really, is my objection to gold- 
digging as a career. I hate it on moral and on 
mental grounds. I dislike the things it does to 

[ CONTINt."ED ON PAGE 92 ] 



Photoplay Magazine — Advehtising Section 

A Risk Women Have Learned 
Never Again to Take 

This new way ends the uncertainty of old'time hygienic methods 



83 




Easy 
Disposal 

and 1 other 
important factors 



(D 



No laundry. As easy 
to dispose of aa a 
piece of tissue— thus 
ending the trying 
problem of dispoeal. 



Eight in ten better class ivomen have adopted this 
"NEW way which provides security that is ah' 
solute and banishes forever the problem of disposal. 



By ELLEN J. BUCKLAND, liigiskred JVurse 

DUE to modern scientific advancements, 
women's oldest hygienic problem re- 
mains a problem no longer. The hazardous 
and uncertain "sanitary pad" of yes'terday has 
been supplanted with a protection that is 
absolute. 

Thus social exactmcnts no longer come 
ever as ill-timed. Filmy frocks and gowns 
are worn without a second's thought or fear. 
The woman of today meets every day un- 
handicapped. 

Kotex — "what it does 



Unknown a few years ago, 
women in the better 
walks of life have dis- 
carded the insecure 
"sanitary pads" of yes- 
terday and adopted 
Kotex. 



'Supplied aho in personal service 

cabinets in restTooms bv 

West Disinfecting Co. 



Filled with Cellucotton wadding, the world's 
super-absorbent, Kotex absorbs 16 times its 
own weight in moisture. It is 5 times as 
absorbent as cotton. 

It discards easily as tissue. No laundry — 
no embarrassment of disposal. It also thor- 
oughly deodorizes, and thus ends all fear of 
offending. 

You obtain it at any drug or department store, 
without hesitancy, simply by saying "Kotex." 

Only Kotex itself is "like" Kotex 

See that you get the genuine Kotex. It is the 
only pad embodying the super-absorbent Cel- 
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by this company. Only Kotex is "like" Kotex. 
You can obtain Kotex at better drug and de- 
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tary sealed packages of 
12 in two sizes: the 
Regular and Kotex- 
Super. 

Kotex Company, 180 No. 
Michigan Ave., Chicago, 
III. 



Kotex Regular: Kotex-Super: 
65c per do:cn 90c per do:ea 

When you write to advenisers please nieullon PHOTOPLAY MAGiZHCE. 




©Dtter protection— Kotex ab- 
sorbs 16 times its own weight 
in moisture; 6 times that of 
cotton, andjitdeodoriaes, thus 
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10 





(D 



Easy to buy anywhere. * Many 
stores keep them ready- 
wrapped in plain paper — 
eimply help yourself, pay the 
clerk, thatisalL 



No laundry — discard as 
easily as a piece of tissue 



Photoplay Magazine — Advertising Section 




^S^ 


-^ 


^^ftlfllC 


flBi^ 


^.1.1 ^^ 


V 


DOLOtVES 


; OHN 


1 l\6N E 


COSTELLO 


BAIVrVYMOIVE 


M C H 




BLUE 




LOUISE 

FAIENDA 




G EO IVCE 

J ESSEL 




H E LE N E 

COSTELLO 




MN-TIN-TIN 



SYD 

CHAPLIN 



P^TSY aUTH 

M I LLE f\ 




(takers of %pmancey Laughter, 
oAdventure— Warner Bros. Stars 

(r\ 4 i IhAT a parade of human emotions these Warner Bros, stars portray 
^-^^^ for your entertainment. A thousand lives, a thousand loves, adven- 
ture without end— that is the joy of piaure-goers that see Warner Bros. 
stars at their favorite theatres. Builders of life and romance in the shadowy 
land of make-believe, they bring happiness to millions. 

This year you should follow them 
more closely than ever because this year 
the pictures in which they appear reach 
a new high point of picture perfection. 

'"Don Juan" 

The QreateSt Lover ofoAll c/iges 

The very sensation of the entire picture sea- 
son— JohnBarrymorein"Don Juan." Hailed 
on all sides as the masterpiece of impassion- 
ed love and thrilling adventure, it is already 
playing in New York, Boston, Chicago and 
Detroit. 

"The "Better Vie" 

Syd Chaplin's Laugh Sensation 
"The Better 'Ole" with Syd Chaplin as the 
lovable "Old Bill" will be voted the greatest 
comedy of years. It is now the rage in Los 
Angeles, Chicago and New York. Both 
this picture and "Don Juan" will soon be 
playing in many other cities— watch for them 
and be sure to see them when they arrive. 

Warner '■Bros. 'Pictures 
Finer Than Sver'^bip'w 

Note the other pictures listed at the right. All 
of them differ widely ia appeal and for that reason 
each will prove to be a source of new delights. 
When you see them you will know why it is that 
Warner Bros, stars are now greater favorites than 
ever, and that Warner Bros. Pictures are the best 
entertainment to be found. 



You must see 

Warner Bros, stars in these great 

pictures at your favorite theatre. 

ACROSS THE PACIFlCstarriritMoiiie Bias. 
MY OFFICIAlWIFEsiarnoglreDeRich 

and CoQway Tearle. 
PRIVATE IZZY MURPHY starring George 

Jessel wiih Patsy Ruth Miller. Vera Gordon. 
MILLIONAIRES svith George Sidney. Louise 

Fazenda, Vera Gordon. 
WHILE LONDON SLEEPS starring 

Rin-TinTin. 
DOLORES COSTELLO in The Third Degree 
FINGER PRINTS ss-ith Louise Fazenda and 

John T. Murray. 
DON'T TELL THE WIFE starring Irene Rich. 
WOLFS CLOTHING starring Monte Blue 

ssith Patsy Ruth Miller. 
WHITE FLANNELS 
BITTER APPLES starring Monte Blue. 
DOLORES COSTELLO in A Million Bid. 
THE CLIMBERS starring Irene Rich. 
THE GAY OLD BIRD 
MATINEE LADIES 
DOLORES COSTELLO in Irish Hearrs. 
DOLORES COSTELLO in The College 

Widow. 
WHAT EVERY GIRL SHOULD KNOW 
TRACKED BY THE POLICE starring Rin- 



^^ 



L^ 



SIMPLE SIS with Louise Fazentla and John 

T. Murray. 
HILLS OF KENTUCKY starring Rin-Tin-Tin. 
DEARIE with Louise Fazenda and John T. 

Murray. 
WHAT HAPPENED TO FATHER with Paisy 

Ruth Miller. 
THE BRUTE starring Monie Blue. 
DOLORES COSTELLO in The Heart Of 

Maryland 

Ask the manager of your fax.'orJte theatre 
when he -will show these pictures. 



^arner^ros.Twdudions 



1600 BKOADWAY -^ NEW YORK 



N - Y. 



EwTy nrirertisemen! in riKlTOPL.W MAG.^ZIXE is finaraiiteed. 



QUESTIONS 6? ANSWERS 



Read This Before 
Ashing Questions 

You do not have to be a 
reader of Photoplay to have 
questions answered in this De- 
partment. It is only necessary 
that you avoid questions that 
would call for unduly long an- 
swers, sucli as synopses of plays 
or rasts. Do not inquire con- 
cerning rclieion. scenario writ- 
inR. or studio employment. 
Write on only one side of the 
paper. Sign your full name and 
address; only initials will be 
published if requested. 




Casts and Addresses 

As these often take up much 
space and are not always of in- 
terest to others than the in- 
quirer, we have found it neces- 
sary to treat such subjects in a 
different way than other ques- 
tions. For this kind of informa- 
tion, a stamped, addressed 
envelope must be sent. As a 
further aid. a complete list of 
studio addresses is printed else- 
where in this Magazine every 
month. Address all inquiries 
to Questions and Answers, 
Photoplay Magazine. 221 W. 
.S7th St.. New York City. 



RC. L., Phil.\delphia, Pa. -I am return- 
ing your compliment by putting you 
♦ at the head of the class this month. 
Betty Bronson was born Nov. 17, igo6. Ad- 
dress her in care of the Paramount Studio, 
.'Vstoria, L. I. Betty is playing opposite 
Richard Dix in "Paradise for Two."' You 
may reach Richard at the same address. 

M. J. H., Pittsburgh, Pa. — Yes, James Hall 
has just come into prominence. But he seems 
to be getting along nicely. Mr. Hall is now ap- 
pearing in "Love's Greatest Mistake." How is 
that for a title? He also plays opposite Pola 
Negri in "Hotel Imperial." 

D. E. F., Peabody, Mass. — Leslie Fenton is 
his real name and he was born in Liverpool, 
England, March 12, 1903. Not married. 

■ C G., Catonsville, Md. — A nice letter de- 
serves a nicer answer. Here goes: Your friend 
is wrong. Gloria Swanson is her real name. 
Gloria has a young daughter — her own child — 
and an adopted son named Joseph. They are 
great kids, both of them. Milton Sills wasborn 
Jan. 12, 18S2. Richard Dix's real name is 
Ernest Carlton Brimmer. He was born in St. 
Paul, Minn., July iS, 1895. Florence Vidor 
was born in 1895 and Norma Shearer Aug. 10, 
1904. Don't forget your promise. 

V. M., Salem, 0.— Write to United Artists, 
7100 Santa Monica Blvd., Hollywood, Calif., 
for a photograph of Rudolph Valentino. En- 
close a quarter with your request. 

Swanson Fan, Schofield, Wis. — Write to 
Gloria at 522 Fifth Ave., New York, N. Y. 
She has blue eyes and brown hair. Richard 
Dix's next picture is "Paradise for Two." 
John Gilbert is divorced from Leatrice Joy. 
Marion Davies' next picture is "Tillie the 
Toiler." 

Mary Elizabeth, Brookline, Mass. — 
Sure, I think Thomas Meighan is wonderful. 
There's no one quite like Tommie. Alice Joyce 
was born Oct. i, 1S90. She's married 
— and happily. Louise Dresser also 
married and, I presume, happily. 
Richard Dix was born Aug. iS, 1895. 
Belle Bennett was born in 1891. Clara 
Kimball Young has just returned from 
Europe, and is planning to return to 
pictures. 



N. J., Meeidlvx. Miss. — Clara Bow has 
broken her engagement to Victor Fleming. 
She savs she did not mean it. Blanche Sweet 
wasborn June iS, 1S96. :Married to Marshall 
Neilan. No children. Mae Murray's current 
film is "Valencia." Sure, she intends to make 
more pictures. The fans won't let her stop. 

W. A.. Newport. R. L— John Gilbert was 
born in Logan, Utah, July 10, 1897. Janet 
Gaynor was born in Philadelphia, Oct. 6. 1906. 
And Madge Bellamy was born in Hillsboro, 
Texas, June 30, 1903. Greta Nissen is a native 
of Norway. She was born in 1905. I can't tell 
you exactly how that scene was filmed, but it is 
safe to say they didn't really burn Mr. Barry- 
more 's leg. 

L. E. B., Cambridge, Mass. — Of course, 
good looks are a help in getting into the movies. 
But, in spite of all that is said on the subject, 
there are no definite requirements about the 
color of the hair or eyes. If you will notice 
closely, you'll discover that some of the most 
popular stars aren't really beautiful at all. But 
they have attractive personalities and — knock- 
ers to the contrary — they really know quite a 
bit about acting. John Gilbert is the gentle- 
man's real name. He was born in Logan, Utah, 
July 10, 1S97. Divorced from Leatrice Joy. 

Lawrence Gray Fax, San Raf.\el, Calif. — 
How could I say anything against Lawrence 
Gray, after your enthusiastic "rave." Mr. 
Gray was born July 27, 1S98. His next film is 
"The Song of the Dragon." He made his first 
appearance on the screen in "The Dressmaker 
from Paris." Renee Adoree is Renee's real 
name, as far as I know. Her new film is "The 
Day of Souls." Leatrice Joy's latest picture is 
"Nobody's Widow." Don't forget that actors 
and women are entitled to change their minds 
every now and then. 

S. J. D., Kansas City, Mo. — .\gain paging 
Mr. James Hall! Yes, he is the man who 
played in "The Campus Flirt," with Bebe 
Daniels. 



IN writing to the stars for pictures, 
1 



Dorothy and Betty, Louisburg, 
N. C. — "Buster" Collier is such a 
young fellow that he hasn't any "an- 
cient history." William, Jr., was born 
in New York City. Feb. 12, 1902. He 
is the son of the famous stage come- 
dian. " Busier" himself played in the 
"speakies" for four years. He made 
his first appearance in movies in 1914 
as a kid actor. His newest film is "Just 
Another Blonde." Richard Dix's ne.xt 
picture is "Paradise for Two." 



Photoplay advises you all to be 
careful to enclose twenty-five cents. 
This covers the cost of the photo- 
graph and postage. The stars are 
all glad to mail you their pictures, 
but the cost of it is prohibitive un- 
less your quarters are remitted. 
The younger stars can not afford to 
keep up with these requests unless 
you help them. You do your share 
and they'll do theirs. 



Mrs. L. C, Delavan, Wis.— Lillian Gish is 
not married. Dorothy Gish is married to 
James Rennie. She has no children. Gloria 
Swanson has a daughter and an adopted son. 
Donald Keith was bom in Boston, Mass.. Sept. 
5, 1905. Louise Glaum was born in Baltimore, 
Md. 

I. B P., Greenwood, Mass.— Back in Vin- 
cennes, Ind., where he was born, Buck Jones is 
remembered as Charles Jones. Vincennes first 
saw him in 18S9. Buck is married. His newest 
picture is "Desert Valley." Richard Barthel- 
mess was born in New York City — of all places! 
— May 9, 1897. Educated at Trinity College, 
and started in pictures in 1916. 

"Pat." — Francis. McDonald may be reached 
at the Metro-Goldwyn Studios, Culver City, 
Calif. 

Dorothy and Billie. Brooklyn, N. Y. — 
This is the best I can do. All my letters are 
marked "rush." Lois Moran was bom in 
Pittsburgh, Pa., in 1909. She was educated in 
Paris and danced in the opera ballet for two 
years. Her first picture in this country was 
"Stella Dallas." She lives in New York, and 
her cousin, whom she has adopted as her sister, 
lives with her. Yes, that's her real name. 

A. A., University City, Mo. — Greta Garbo 
was born in 1906. And Antonio Moreno was 
born Sept. 26, 1SS8. The Scandinavian-Span- 
ish combination is a great one in pictures, isn't 
it? Both your favorites may be reached at the 
Metro-Goldwyn Studios, Culver City, CaUf. 

J. B., St. Croix Falls, Wis. — Jacqueline 
Logan has auburn hair and gray eyes. She is 
five feet, four inches tall, and weighs 119 
pounds. Born in Corsicana, Texas, Nov. 30, 
1902. Married to Ralph Gillespie. Claire 
Windsor's son is named Billy. 

"Gloria." — Welcome back! Write to Dor- 
othy Mackaill in care of First National Pic- 
tures, 383 Madison .\venue, New York. She is 
Mrs, Lothar Mendes now. Dorothy 
was born March 4, 1904. Yes, I an- 
swer personal inquiries when accompa- 
nied by a self-addressed stamped 
envelope. 

Jess, Chicago, III. — Harry Lang- 
don is an American — very much so. 
He was born in Council Bluffs. Iowa. 
What could be more United States? 
His wife is Rose Langdon. The last 
lime I heard from them there was a 
divorce pending in the family. Ah 
me! 

John Gilbert Fas.—Mt. Gilbert 
was bom July 10, 1S97. Olivia Bur- 
well was his first wife and Leatrice - 
Joy his second. Sorry to keep you 
waiting. 

[ continued on page 94 ] 

85 




Photoplay Magazine — Advertising Section 



^Jur national 



propensity to 
Colds 

This co?nmon trouble can be traced, 
quite often, to the susceptibility in- 
duced by Auto-Intoxication. 

OF all diseases to which the flesh is heir, 
colds are the most costly in lost time and 
in impaired health. And yet taken caie of in 
time, a cold is not a tiouble difficult to defeat. 

A good rule with colds is to get at the source 
of the trouble, and get at it promptly. For 
unless a cold is quickly shaken off, it often de- 
velops into a more serious ailment. 

Usually the real cause of a cold can be traced 
to stoppage of waste products in the intestines. 
When waste products are not promptly elim- 
inated they start to ferment and to set up 
poisons which are spread through the body 
by the blood — producinga form of self-poison- 
ing called Auto-Intoxication. 

Auto-Intoxication weakens our bodily 
powers of resistance — it makes us easy prey 
for the germs of colds — it takes some part of 
health from nearly everyone. 
* * * 

Don't take a chance with colds. At the first sign 
of a "stuffed up," congested condition — cor- 
recr the stoppage — clear out the intestines of 
poison-producing wastes. 

For this, there is no better helper than Sal 
Hepatica. Sal Hepatica, a palatable, eflferves- 
cent saline, attacks a cold at its source. It rids 
the system quickly of waste products, bathes 
away the intestinal poisons and aids in keeping 
the blood stream pure and in condition to 
destroy the germs of colds. 

You may take Sal Hepatica on arising or, if 
you prefer, half an hour before any meal. 

To learn more about jelf-poisotiing and rrs relation to 
colds and to other common ills, send for our new book- 
let on Auto-Intoxication. 



For booklet please address 

BRISTOL-MYERS CO 

Dept. G27. 71 West Stieel 
New York Cicy 



Sal ^ 
Hepatica 





Louise Brooks, who has reached the top in a year 

The Girl on the Cover 

By Cal York 



MAL ST. CLAIR says she is one of the 
finest actresses he has ever seen. 
Adolphc Menjou agrees. So does the 
whole Paramount organization to whom she is 
under contract. The pubUc is now chiming in. 
All this she has accomplished in a year's time. 
It is hard to write about Louise Brooks. You 
have to see her. Ruth St. Denis saw Louise 
originally — it was somewhere in Kansas — and 
placed her in her dancing troupe. Louise got 
to Broadway and George White, after one 
glance, engaged her for the " Scandals." Zieg- 
feld spotted her for the next year. Then some- 
body in Paramount beheld her and gave her a 
bit in "The Street of Forgotten Men." 

The men were forgotten in the rushes after a 
single glimpse of Louise. The beauty, the 
personality she had on the stage intensihed ten 
fold when she got on the screen. Louise was 
promised a regular part in "The American 
Venus." She walked away with the picture, 
straight from under the capable noses of such 
troupers as Esther Ralston and Ford Sterling. 

Every advertisement in rnOTOPLAT MAGAZINE Is cuaranteet). 



If there is any more poised 5'oung person in 
the whole movie world than Louise, she is yet 
to be found. Mere questions to Louise about 
where she came from and why, eUcit no 
response and no interest from her. Evidently 
she regards herself as strong drink. You can 
either take her, or you can let her alone. 
Louise is not in the business of selling herself by 
means of any yam about the old, old family or 
the so-dear ancestors. 

Despite her playing opposite Menjou in "A 
Social Celebrity." her performance in "The 
Show-Off" and her rendering of "Love 'Em 
and Leave 'Em." there are those who 
intimate that Louise can not act. But there 
are those who intimate that Gloria Swanson 
and Mary Pickford can not act either. 

Recently Louise married Eddie Sutherland, 
the director. She's ver>' much in love and very 
happy. You can tell it by her work. It has 
softened it but rendered it no less delightful. 
Louise, definitely, is one of those little things 
the cinema needs. 



Photoplay Magazine — Advertising Section 



87 




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When you write to advertisers please mention PHOTOPLAY MAGAZINE. 




Photoplay Magazine — Adveutisixg Section 



Trettier Lips 

. . at Palm Beach 



TDear J^an: 

If the older set haven't come to this 
resort, the Younger Set are here. Ciel! 
What exquisite clothes! What artists in 
beauty! 

Every girl of every age is using a Lip 
Stick— and so many of the smartest ones 
are using Pompeian Lip Stick. Women 
are so clever today! They know this Lip 
Stick gives that natural, "cherry-ripe" 
color to their lips — that it is absolutely 
pure — and that it is very "chic." 



/^.-- /' 







'Pompeian dp 
Stick gives natu- 
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PdMpeian 



Brickbats and Bouquets 



[ COXTIXUXD FROM PACE 12 ] 



Kind to Duinb Animals 

West Conshohocken, Pa. 
I am glad of an opportunity to express my 
\'ie\vs on actors and actresses in general. It 
seems sad. though, to see so much told about 
the human ones, and scarcely a single line of 
appreciation about the wonderful animals 
which assist in making so many interesting 
pictures to be enjoyed by all. So today I am 
sending a large bouquet to these. Surely 
appreciation is due Strongheart, and Rin-Tin- 
Tin. Kazan, the Alaskan husky, bravely 
plodding an ahnost impassable beat in the 
bUnding snow, and the faithful Tony racing 
for dear life to win back the old homestead. 
Even though they cannot speak, they perform 
their parts ^nth an aptness and willingness 
that is mar\"elous in detail. 

A. G. Carlin. 

Anent Personality 

Co\ington, Ky. 

I have seen LeuTS Stone in almost every pic- 
ture he has made, and his personality is dom- 
inant in all of them. "Without ever ha\'ing had 
the pleasure of kno'>A-ing him , I know he is a 
good sort and a real man. 

Monte Blue. Harrison Ford, Ronald Colman 
each have a different personality from the other 
that shows in their pictures, that compelling 
personality. John Gilbert has it strongly, the 
'*Vou must like me" kind; you know what I 
mean; I met a man like that once, to my sor- 
row. 

Of the women Xorma Talmadge ranks 
highest. Her personality illumines every pic- 
ture she makes. Irene Rich is ne.xt. She was 
superb in "Lady Windermere's Fan." 

Corinne Griffith would be much improved 
if she would get away from that languid way 
she has. Even when she deigns to smile it 
seems an effort. Alice Terr>'- would be a better 
actress if she didn't pose so much. Her self- 
consciousness spoils her, and detracts from her 
good points. 

About Barbara La Marr. She was so won- 
derful in "The Girl from Montmartre." As 
ill as she was her beauty and personaUty never 
deserted her for an instant. Let us never for- 
get her. 

M-iEG.vRET D. Watson. 

Private Opinions 

Haverford, Pa. 

The first of my bouquets goes to William 
Haines for his excellent work in "Memor>' 
Lane'' and "Brown of Harvard"; the second 
to Flaherty for "Moana of the South Seas."' 
For sheer beaut}*, this latter is imsurpassed. 

As to Haines, his work in the above- 
mentioned productions has placed him second 
only to Ramon Xovarro. His charm hes in 
the fact that he represents what we like to 
think is best in ever>-day American life. He 
is the t\pe of person that one might meet any- 
where; we can see in him a little bit of our- 
selves and of those about us, consequently we 
take an almost personal interest in him. Other 
tributes should go to Ohve Borden, and to 
Lucy Beaumont for her work in a great pictiu^e 
— "The Greater Glor>'." 

Brickbats should go to whoever is responsible 
for the continual miscasting of the reaUy intel- 
hgent Ma}' Mc.\voy. and for assigning youth- 
ful roles to such as Conway Tearie or Eugene 
O'Brien. I also put myself on record as 
probably the only mortal whom "Ben Hur'' 
left cold. Why are "big productions" so often 
concerned ^^^th the semi-gods of the past, 
rather than with the human beings about us? 
After all, they are the ones who matter today. 
RiCH.\RD Bull. 



She Doesn't Like Sex 

Cleveland, Ohio. 

It's time this se.x appeal stuff was made an 
end of. We fans put up for a lot of things, but 
it's gone too far. If the producers think they 
can stop our howling for better pictures by 
giWng us the stuff Elinor Gl}-n writes, they're 
all wTong. 

Poor old fellows! They think we're kids, 
I guess. They certainly don't give us credit 
for much inteUigence. if they think the sexy 
movies can fill our order. What we want is 
something lofty and beautiful and noble, not 
"Heart Sorrows" or "JIad Women" and rub- 
bish hke that. 

These films on sex appeal are the last word 
in crudeness. They show glaring defects in 
the directors and actors. There's nothing 
subtle about it. If there were, the pictures 
wouldn't be made in the first place. 

Horeover, foreign countries won't respect 
us any more for our silly \-ulgarity. 

Come on, fans! Aren't you tired of it, too? 
Raise a fuss and demand your rights! They 
say mo\-ies are for our pleasure, but that won't 
be true until they kick out e\-ery vestige of sex 
appeal. Florenxe E. Brooks. 

He's a Good Boy 

St. Joseph, Mo. 

Imagining all the theater goers gathered 
around a large bouquet table, and appointing 
myself toastmaster, I drink to the health, 
happiness and continued success of WiUiam 
Boyd. The toast is unanimously accepted, for 
he has enshrined himself in the heart of every 
real American lover. 

His clean, manly appearance, light hair, 
twinkling eyes and winning smile make his 
appeal uni\-ersal. His faultless characteriza- 
tion of the title part in "The Volga Boatman" 
ranks him mth the highest and I hope we may 
see him in more of these clean pictures under 
the direcrion of Cecil B. de Mille. 

A. F. Mueller. 

Ben's Bouquet 

Providence, R. I. 

I have long been a reader of the Photoplay 
and am greatly surprised that I hardly e\er find 
much to read about my favonte actor, Ben 
Lyon. .-Uthough he is a new star, I think that 
he fully deser\'es great praise. In "Blue- 
beard's Seven Wives" he certainly did show 
his art in acting. Also in "The New Com- 
mandment." 

I don't see why we read great praise about 
foreign and older stars instead of .\merican and 
younger stars. Ben Lyon possesses all the 
merits and the art of acting of the foreign and 
older stars. S. R. 

For ZaSu 

Marshall, Mich. 

Of all the arts, acting is the most artificial. 
The most lacking in sincerity, an art that 
demands perfection of detail above all else. 
Therefore a true artist of the stage, a rare mime 
of the screen, must be one possessing technique. 
One who works, who strives for the ultimate 
effect, who beUeves no bit too small for con- 
sideration. An artist who visualizes the im- 
portance of making every role a cameo of per- 
fecuon not even to be submerged by the star's 
reputation. One who works the tremendous 
power of restraint; whose ever}' gesture has 
thought and meaning behind it; who snaps her 
fingers at the fly by night beauties of the 
screen, because her inteUigence lets her under- 
stand the futile Hmitations of pulchritude. 

Allow me to present to you, stupid fans who 
see so httle, the one and consummate artist of 
them all— ZaSu Pitts. \'. Stuart Lo\e. 

I COXTIXUED ON PAGE lOO ] 



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Photoplay Magazine — Advertising Section 



89 



I thought 





\ f VJEMEMBER the fire at 

the Mountain View last summer? You 
must have seen it in the papers. Well, 
/ remember it. It comes back to me 
now like a nightmare. 

Along toward early morning, I was 
awakened by the pungent odor of some- 
thing suspiciously like wood smoke. 
I grabbed my Eveready flashlight, 
which fortunately was parked on a 
chair next to my bed. I snapped on the 
flashlight and, sure enough, smoke was 
seeping under the bedroom door. 

I snatched up what clothing I could 
carry and made for the hallway. All 
about me was confusion. It seems that 
when the tire started, every light in the 
hotel had gone out . . . like that! 
Except for my Eveready, the place was 
in darkness. By the aid of its bright, 
penetrating light, I guided all the 
guests on my floor to safety before the 
entire structure broke into flames. 

I had paid $1.25 for that Eveready. 

It was worth a million dollars to me 

that night! 

y r r 

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Photoplay Magazine — Advertising Section 



"EXQUISITE MYSTERIES 
IN YOUR EYES" 

(Letters from hovers: V) i 

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71 FIFTH AVENUE. NEW YORK 




Studio News and Gossip 



[ COXTI.\n:D FROM PACE 78 ] 



npIIAT gentlemanly globe-trotter, Xomian 
■^ Trevor,arrivcdfromNew York where he| has 
been two-timing his art by playing in "New 
York" by daytime and "The Captive" on the 
stage by night, to be honored by Frank Lloyd. 
Xow Lloyd is a director, and a good one, but 
he is not the King of England. Nevertheless he 
made Trevor a Duke for his next picture 
"Children of Divorce," which is a worthy re- 
ward for Trevor's fine performance as Major 
Bcaitjohis in "Beau Geste." 

REMEMBER Dorothy Dalton? Dorothy, 
you know, is now the wife of Arthur Ham- 
merstein, successful musical comedy producer. 
Dorothy is very much retired these days and 
very much the great lady. Tier home on Long 
Island is a show-place. Her jewels are very 
liandsome and very real. Her clothes are con- 
servative. Her manner is correctly aloof. 
Dorothy is not ver>' much in evidence at Broad- 
way gatherings — unless they are very grand 
and formal. 

Heigh, ho, for the former Flame of the 
Yukon ! 

S.WE the wedding present you were going to 
send Marilyn Miller and Ben Lyon. They're 
not going to be married. "The story is silly — 
there is no truth in it," says MarU>Ti, who must 
know. It means that she is not going to di- 
vorce Jack Pickford. and if she doesn't do that, 
of course she can't marry Ben. So there you 
are. 

THE stampede to the altar is still on. It has 
been a record season for marriages. The 
latest couple to face the shower of rice is 
Dorothy Hughes and Phillip Paj-ne. Miss 
Hughes is the original "Miss New York." 
She has been playing in Famous Players-Lasky 
films. And Mr. Payne, as everyone in New 
York knows, is the editor of the Daily Mirror. 
Immediately after the wedding. ]\Ir. and Mrs. 
Payne went to Florida on a honeymoon, 
probably to escape from a deluge of congratu- 
lations. 



XJERE'S one about an ambitious 
■*" •*'lad whose aspirations are greater 
than his talent. While he may not be 
in shouting distance of the front 
ranks, still he has plenty of nerve and 
he gets roles in quite a few pictures. 

One day he approached a certain 
sharp-tongued star. "Did you see 
my latest pictures?" he asked, there- 
by courting disaster. 

"I did." 

"And how did I look?" 

"Well, to tell the truth, you didn't 
look quite natural. There was some- 
thing wrong about your appearance — 
makeup, or photography or some- 
thing." 

The ambitious lad gave one long, 
wounded look. "That," he ex- 
plained meekly, "was supposed to be 
a character part." 

A MONG those said to be hovering on the 
-'*-brink of matrimony are Marion Coakley 
and Lawrence Gray. Marion is a stage actress. 

SLIPPING gracefully out of "Diamond 
Handcuffs," a story that had been written 
expressly for her, Mae Murray packed her 
husband, Prince David Divani, and her lug- 
gage and left the shores of America, bound for 
Georgia, a province somewhere between Zenda 
and Graustark. her hubby's homeland. 

"Are you happy with the Prince?" an in- 
spired reporter queried. Prince David is Mae's 
fourth. 

"I never knew what happiness was until 
now," the Princess of the celebrated pout said. 
"All the rest was merely training." 

A NOTHER amicable adjustment. Mabel 
-'"■Normand and Hal Roach studios have 
come to a parting. Quite friendly, please 

I CONTINTIED ON P.\GE 96 ] 




Just an ordinary studio orchestra is usually sufficient for straight 
scenes. But when Greta Garbo wants to stage some heavy emo- 
tional acting, a singer is called upon, in addition to the orchestra. 
The girl with the megaphone is singing to Greta on the set. And 
probably the selection is ''My Baby May Go Here, My Baby May 
Go There" 

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Photoplay Magazine — Advertising Section 



strain 
bruise 

Rub in Absorbine, Jr. 
— at once! 

It will relieve the pain, reduce 
inflammation, and prevent the 
soreness and stiffness that 
would otherwise follow. 
Absorbine, Jr., isalso a depend- 
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been broken, it will guard A- 
gainst infection. Use it for cuts 
and burns. 

For sore throat, rub in Absorbine, Jr., 
outside, to break up conge^ion, 
and use it diluted as a g?rgle, to de* 
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Rehef will follow prompt- 
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THE ANTISEPTIC LINIMENT 



Friendly Advice on Girls' Problems 



[ CONTINXED FROM PACE S^ ] 



girls' minds, making them cheats and petty 
grafters, making them hard and destroying the 
beauty of love for them, to replace it with a 
dollar sign. 

For what does it profit a girl if she lose all 
the real beauty of life and svia a fur coat? 

Virginia Huxtee: 

Waterwave your hair, by all means. That 
will restore its natural curl, but never let mar- 
cel irons touch it. Your weight is just about 
right for your height, but if you much prefer 
being thinner, you can lose four or five pounds 
without danger to your health. Your best 
dress colors, being a Titian blonde as you are, 
are black, cream or ivory whites, all shades of 
brown, darkest blues, pale greens, taupe with 
a pink cast, pale yellows and ambers. 

Puzzled, Forest Hills : 

I'm afraid, my dear, you are entertaining a 
crush on a boy who isn't interested in you at 
all. He's known you long enough now to make 
some advances in your direction, if he were 
anxious to know you better. He plainly 
hasn't done it. Forget him while you are still 
young enough not to have it matter. 

Just Lolly: 

It must be bad diet affecting your skin. 
Eat more simply. Avoid pastry and candies 
and make most of your meals from green 
vegetables. Exercise will help, too. I really 
think you don't need to worry about being 
popular with boys at fifteen. Take time to 
de\elop your own personality. Study charm. 
Learn how to dress smartly. You can well 
give another three years to these things. Then 
at eighteen you may be ready to make a real 
conquest. 

Katherine a.: 

Poor little girl, I'm sorr^' you haven't a 
mother to give you that love you crave. 
Petting is so individual a problem and each 
girl's interpretation of the word is equally 
individual. At this distance I can only advise 
you, be discreet. You live in a small town and 
you can't afford to get yourself talked about. 
If he is a nice boy in whom you're interested, 
why don't you marn,- him? I feel sure that is 
the' thing that will make you happiest. 

E. DoiT): 

Why do you wish to marn,- a man whom you 
can't keep true to you even during the days of 
courtship? Truly, my dear, such a boy isn't 
worth considering. Drop him before he breaks 
your heart. 

Elizabeth Sheely: 

I trust you got the booklet on reducing. I 
really don't believe you need it. for you are 
underweight rather than otherwise. Please 
don't begin worr>-ing about your hips now, 
Elizabeth. You're really only a child and by 
the time you actually grow up they may be in 
style again. 

W. M. E.: 

You are worrying unduly. If your husband 
stays on his diet, his health may be very good 
for years. Diabetes is one of the diseases con- 
cerning which much has been discovered in the 
last few years. At such times as it is con- 
venient, it would be very wise for your hus- 
band to see a specialist for a health inspection, 
but as long as he watches what he cats he is 
quite safe. Good luck to you and the new 
baby. I hope your married life will be a happy 
one. I fancy it will, too, for you sound like a 
sane, energetic girl. 

Kathryn Benson: 

Your problem isn't as general as you think, 
though I am both interested and amused by 



your letter. I can only take up in editorials 
the topics I believe of most common interest. 
That extreme interest in a wife's feet occurs to 
some husbands. I would co-operate with 
it as far as possible, as it is one of those deep- 
rooted interests, like a prejudice toward cer- 
tain colors. Your only danger, I think, is 
in switching to low-heeled shoes in the morning. 
After the extremely high-heeled ones during 
the evening, it is hard on the arches of your 
feet. You might better wear the stilts all of 
the time, or go barefooted about your own 
room. 

Wondering: 

It is possible that the young man was just 
being unusually honest with the girl. Not yet 
through college, his business life ahead of him, 
it surely is sane of him not to be considering 
marriage at this time. The girl in the case 
should be glad of his gentlemanly friendship. 
Tell her to stick. 

It may ripen into love, but either way she is 
not being deceived. 

Harriet Tvll: 

"Choker" necklaces are still being worn, the 
smartest being in gold, rather than in beads as 
last season. Any t\'pe of antique gold jewelry, 
which would suit your type beautifully, is very 
smart this year. The hat you wear with your 
black silk dress depends more upon the occa- 
sion than the dress itself. Little, tight, un- 
trimmed felts are still smartest. Velvet is 
being worn somewhat, likewise velours. Vel- 
vet is the most formal of the three. "Russian 
style" dresses, like every other "picture "style, 
depend upon you entirely. You can wear them 
if you want to — if they are becoming and 
suited to the event. I wouldn't advise them 
for early daytime wear, howeAer. The kind of 
fur coat one buys depends very greatly upon 
the amount of money you can afford for one. 
The New York tendency, at the moment, is 
to buy the new special furs — chipmunk, sten- 
ciled calf and such furs. They are smart and 
reasonably warm and the chief point in their 
favor is they are not so expensive you feel you 
must wear them several years. Fur repairs are 
so costly these days, bujing more lasting fur 
becomes almost a bad investment. 

Betty from Boston: 

Tr\' this tonic on your eyelashes, only be 
careful not to get it in your eyes. Yellow 
vaseline, two ounces. Oil of lavender, 15 
drops, oil of rosemary, 15 drops. Mbc 
thoroughly. After washing the face at night, 
brush your eyebrows with a tiny eyebrow 
brush upon which a few drops of the tonic has 
been placed. 

Get weighed frequently and do not allow 
yourself to get any heavier. You are too young 
to go out with boys to public places. But it is 
all right to go to mixed parties or invite the 
boys to your home. 

Babs: 

Avoid eating between meals, take plenty of 
exercise and cut down on starchy foods. But, 
remember, no strict dieting! A good, brisk 
walk every day ought to take off the ten extra 
pounds. You really have beautiful coloring. 
You ought to look extremely well in pale 
yellow, pale green, black, midnight blue, flesh 
pink or pale blue. Avoid red. Try this eye 
wash: Boric acid, i per cent; sodium biborate, 
one gram; water camphor, sixty drops, and 
three ounces of distilled water. Apply with an 
eye cup. Or apply a warm cloth to the closed 
lids at night for several minutes. If you have 
any severe trouble with your eyes, consult an 
oculist. 

[ CONTLNXED ON PAGE qS ] 



Every advertisement in mOTOPLAT MAGAZINE Is euarantecd. 



Photoplay Magazine — Advertising Section 



93 




£I££IAN GISH IN 

THE SCARLET LETTER 



Directed by 

Victor Seastrom 

Adaptation 

and Scenario 

by 

Frances Marion 

from the story by 

•■'" Nathaniel 

Hawthorne 

with 
Lillian Gish 
Lars Hansen 



YOU will be amazed, thrilled 

AT this magnificent, epoch making production- 

AT the gripping, heart-stirring humanity of 

LILLIAN GISH as Hester Prynne 

THE heroine of Nathaniel Hawthorne's 

IMMORTAL masterpiece 

THE greatest love story ever filmed 

FOR months it has been one of 

BROADWAY'S main attractions. 

AT $2.00 admission 

SEE it now at popular prices. 




"More stars than there are in Heaven" 



John Gilbert's 
Valuable Prize 

You are my most critical 
audience. You often at- 
tend motion pictures. You 
have an intelligent interest 
in what is shown. Where 
others merely look at the 
pictures, you actually see 
them. You are really ob- 
serving. I want you to have 
this valuable prize. 
So, I am submitting six 
questions. For the man who 
sends the best answers I 
have chosen the cigarette 
lighter I use in "The Flesh 
and the Devil"as my reward. 

If it is a lady, Greta Garbo 
has promised the stunning 
umbrella she carries in the 
same picture. 

."Xnd I have fifty of my fa- 
vorite photographs ready to 
autograph for the next fifty 
best contestants. 
Someone will receive this 
prize. Why can't it be you? 
I hope it is. 

Good Luck to You. 




Six Qiaestioes 



IWhat is the first authentic pic- 
ture of our admirals in the 
making? Who is the star? 

2 Who are the heroes ol peace 
time? In what picture are they 
starred? 

3 Which is your favorite M-G-M 
picture and why? (Not more 
than fifty words.) 
.i What was the wager in Bar- 
"T delys the Magnificent? Who 
won? 

5 In what M-G-M picture was 
the star imprisoned in a wind- 
mill? How did she escape? 
t' Have you seen "Tell It To The 
\) Marines"? If so, at what the- 
atre and what did you think of the 
presentation? 

Write your answers on one side of a single 
sheet of paperand mailto3rd Floor, 1540 
Broadway. New York. Allanswers must 
lie received by Febtuary 15th. Winnefs' 
names will be published in a later issue of 
this magazine. 

Note: If you do not attend the pictutes 
yourself, you may question your friends or 
consult motion pictute magazines. In event 
of ties, each tying contestant will be 
awaided a ptize identical in character with 
that tied for. 

Winner of The Renee Adoree 
Contest of November 

MISS MADGE HARNEY 
7427 Colfax Avenue, Chicago, III. 

Autographed pictures of Miss Adoree have 
been sent to the next fifty ptize wmners. 




Photoplay Magazine — Advertising Section 



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Questions and Answers 



[ COXTINLTED FROM PAGE 85 ] 



R. O. OF Iowa. — Have a heart! I am only 
one lone -Answer Man. and not a whole staff of 
experts. Well, to begin with, Lois Wilson was 
born June 2S, iSq6. She was studying to be a 
school teacher when she won a beauty contest 
and got a job in the movies. Lemme see: I 
think that was about eight or nine years ago. 
Loiss parents li\e in Hollywood, and she is the 
oldest child. She has two sisters, but no 
brothers. I suppose she has a secretar>% but I 
can't say for sure. I don't know whether or not 
Richard Dix has any relatives in Des Moines. 
He was bom in St. Paul, Minn., and has been 
the sole support of his mother and sister for 
many years. His mother is a widow. Richard 
doesn't give out his home address, so you will 
have to write him in care of the Paramount 
Studios, Astoria, L. I. 

P. J. C, Chicago, III. — Anna Q. Nilsson is 
about thirty years old. Gloria Swanson was 
born March 27, 189S. Address Miss Nilsson at 
First National Studios, Burbank, Calif. And 
write to Miss Swanson at 522 Fifth Ave., New 
York. That's where Gloria has her o\\'n pri- 
vate ofi&ce. 

N. R. E., Flint, Mich.— \\Tiile it is not 
usual to show pictures of a star after the star's 
death, I think there will be an exception in the 
case of Rudolph Valentino. It is possible to 
keep pictures for many years, and it isn't likely 
that the producers who own Valentino pictures 
will destroy them. Write to United Artists, 
729 Seventh Ave., for a photograph of Valen- 
tino. 

Be\'eri.v of Detroit. — The glad hand is 
always out for newcomers. I never play favor- 
ites. Betty Bronson was born Nov. 17, 1906. 
I think she is a dear. BilUe Dove played oppo- 
site Douglas Fairbanks in "The Black Pirate." 
Easy to look at. isn't she? Esther Ralston is 
twent3'-four years old; Ricardo Cortez is 
twenty-seven; Louise Brooks is nineteen; Jetta 
Goudal is about twenty-eight; Conrad Nagel is 
twenty-nine; and Douglas Fairbanks is forty- 
three. 

Maude, Monroe, Wash. — Here's that boy, 
Bill Haines, again! Bill is with Metro-Gold- 
^->Ti-Mayer. He was bom Jan. i. iqoo, and is 
six feet tall. He has black hair and brown 
eyes. Not Married! George Lewis was born 
Dec. 10, 1Q03. And he's not married, either. 
Jack Pickford was bom Aug. 18, 1896. Mar- 
ried, but separated from Marilyn MUler. 

F. M. W., San Francisco, Calif. — Your 
little schoolmate is doing ver>' well. Was she 
clever in her lessons? If you w'ant to write to 
Fay Wray, address her at the Lasky Studios, 
Hollywood, Calif. Renee Adoree parks her 
make-up at the Metro- Gold wjti Studios. Cul- 
ver City, Calif. She has brown hair and blue 
eyes and is five feet, two inches tall. 

Montreal Girl. — Hello, Canada! Glad to 
tell you a "few little things." Clive Brook is 
an Englishman; bom June i, iSqi. He is mar- 
ried to Jlildred Evelyn. Barbara Bedford and 



Robert Frazcr appeared in a picture called 
"Women Who Give." The name of Norma 
Talmadge's film was "The Woman Gives." 
Edmund Lowe played opposite her. I don't 
blame you for getting mixed on the titles. 

M. L., Bakersfield, Calif. — So you don't J 
believe I am old! Say, do I have to die of old ' 
age to convince you? I can't say which is the 
better looking, Richard Dix or Richard Bar- 
thelmess. Do you think I want to start a war? 
You and the girl friend will have to settle it 
between you. Bebe Daniels was bom in Dal- 
las, Texas. Her mother is of Spanish descent 
and her father was Scotch. But that doesn't 
make Bebe Portuguese. 

V. ^L S., IVL-\ssena, N. Y. — June Marlowe 
was the girl in "The Night Cr\'." Richard 
Dix's latest picture is "The Quarterback." 
Esther Ralston is his leading woman. May 
McAvoy was born in 1901. She has curly 
black hair and blue eyes. Four feet, eleven 
inches small. Lloyd Hughes — " that wonderful 
young man" — is six feet tall and has dark 
brown hair and dark gray eyes. Bom Oct. 21, 
1897. Constance Bennett was born Oct. 22, 
1905. She is five feet, four inches tall and has 
light blonde hair and blue eyes. 

A. L. S., Philadelphia, Pa. — No trouble at 
all! Adolphe Menjou was bom Feb. iS, 1S91; 
he is five feet, ten and one-half inches tall. 
His first real part was in "The Amazons." a 
Paramount picture. Lawrence Gray was bom 
July 27, 1898, and is five feet, ten inches tall. 
His first picture was "The Dressmaker from 
Paris," released in 1924. Elinor Fair's first 
picture was " The End of the Trail, " for Fox, 
and her latest, "The Volga Boatman. " Elinor 
was born Dec. 21, 1904, and is five feet, four 
inches tall. Don't you think I am a snl"art 
fellow to know all these fascinating facts? 

D. E., West HA^'E^^ Conn. — Johnny Hines 
was bom in Golden, Colo. That makes him a 
Boy of the Golden West. His birthday was 
July 25, 1895. Not married. He's five feet, 
nine inches tall and weighs 150 pounds. 
Address him at First National Pictures, z%^ 
iladison Avenue, New York, N. Y. 

A Photoplay Reader, Hanoaxr, Ixd. — 
Billie Dove was born JMay 14, 1904. ilarried 
to Ir\-in Willat. No children. Is that all? 

N. Truluck, Lebanon, Tenn. — That's up 
to you, dearie. You will have to write iliss 
VaUi and request her photo. She is now work- 
ing at the Fox Studio, 1401 N. Western Ave., 
Hollywood, Cal. It is customary to enclose 
twenty-five cents for a photograph. 

",\ Robert Frazer Fax," Los Angeles, 
Calif. — Robert was bom in Worcester. !Mass., 
June 29, 1S91, He's married to a non-pro- 
fessional. You're a single-hearted woman. 

M. C. B.. Emporia, Kansas. — Right you are 
— Wallace Reid starred in " Excuse My Dust." 
[continued on p.'^ge 115] 



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Photoplay Magazine — Advertising Section 



95 



^^ChapvLie Chaplin^s 




IruL Life Story 

As Never Told Before 



JIM TULLY 

THE actual story of the 
great star's life, stripped 
of showmen's "publicit)'." 
Now the real truth of Chap- 
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to international fame. A gen- 
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revealing a great deal of 
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Jim Tully's sympathetic biog- 
raphy of Charlie Chaplin 
begins in the Januar}' issue 
of Piaorial Review on sale 
now. Don't miss the hrst 
installment. 



CHARLIE CHAP- 
UN AT THE AGE 
OF TWENTY- 
THREE YEARS 




CHAPLIN AND ADOLPHE MENJOU WHEN FILMING 
"A WOMAN OF PARIS' 



EDNA PURVIANCE, WHO 

PLAYED TEN YEARS WITH 

CHAPLIN 




January 



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Photoplay Magazine — Advertisino Section 



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Studio News and Gossip 



[ COXTIXTED FROM PAGE 90 ] 



understand, but over-production has cau:?ed 
Roach to exercise the sixty-day cancellation 
clause in ^Mabel's contract. jMabel has made 
five comedies and is to do one more. She was 
to have made ei^^ht. 

Mabel wants to do feature length comedies 
and. I understand, is now reading another con- 
tract with an eye to signing it. 

n^ HERE'S a new art on Broadway. 
•*" It is lip-reading. The students of 
this fascinating pastime may be 
found at "What Price Glory?" "Beau 
Geste" and "Old Ironsides." It 
seems that there is a lot of hot lan- 
guage used in these pictures that 
doesn't crop out in the subtitles, for 
censorial reasons. However, any 
httle bright boy — or girl — may dis- 
cover the hot words by watching the 
lips of Messrs. McLaglen, Beery or 
Lowe. 

This new sport is known as the 
"cuss word puzzle." 

DAISIES and women won't tell. The latter, 
at least, when they are wagered roadsters 
for silence. Dorothy Gulliver, the htlle Uni- 
versal leading lady, was married for six months 
to William De\'ite, an assistant director, be- 
fore anyone knew it. Then "Win," her hus- 
band, had to brag when his boss. Bill Seiter 
who married Laura LaPlante. spoke with 
authority on the subject of matrimony. 

So Dorothy Gulliver DeVite, bride of six 
months, drives a new^ roadster because hubby 
just couldn't keep a secret. 

SHE rode to her death valiantly, with a smile 
on her lips, just as she had come to Holly- 
wood five months before with dreams of suc- 
cess as an actress. The little girl whose horse 
slipped on a wet pavement and threw her to 
tragic death, was Phyllis Leisenring, a college 
girl from Berkeley, known on the screen as Jane 
Stuart, whose clever work in "The Campus 
Flirt," scenes of which were taken in the north, 
caused her to come to Hollj^vood and a picture 
career. 

Jane was pretty and young and animated — a 
t\'pical college girl. It was for modern college 
girl roles that Paramount was developing her. 
Then came the riding party, the tragedy and 
the short career of Jane Stuart was ended. 

AXXA Q. NILSSOK lost a bit of anatomy 
the other day when two large and annoy- 
ing tonsils were removed. It was by way of 
vacation, for Anna Q. went from "Easy Pick- 
ings."' her latest picture, to the hospital. 
She's all well now. 

"DICHARD DLX is reunited, in 
"*"^making his newest Paramount 
picture, "Paradise for Two," with 
Gregory LaCava, who directed suc- 
cessively three of the star's most 
successful pictures. 

The first day's work on "Paradise 
for Two," therefore, was cause for 
as much of an "old home week re- 
union" celebration as the shooting 
schedule would allow. Congratula- 
tions and felicitations were offered. 

Betty Bronson, the other half of 
the i"Two" in the title, said: "I'm 
glad to be working with such a fa- 
mous combination. Why, you're get- 
ting to be as inseparable as a miser 
and his money." 



Edmund Breese, who portrays 
Dix's uncle, spoke: "Yes, this com- 
bination is just another Damon and 
Pythias." 

Ray S. Harris, the scenario writer, 
added: 

"They fit together just like pen 
and ink." 

Andre Beranger simply murmured : 
"Pork and beans." 

And then Dix spoke up. 

"Look here !" he said. "This thing 
has gone far enough. Somebody will 
make a crack about 'ham and eggs* 
in a minute, and I won't let anyone 
call me a 'ham' actor." 

pRINXESS ORSIXI of Rome and her royal 
-^ husband know now how the great American 
steno acts in her lair. And they were instructed 
by no less authority on key-tickling than 
Marion Davies, who is making a film of that 
funny comic-strip flapper. "TUlie the Toiler." 
The Orsinis, the Princess was formerly Jlrs. 
Lewis Rowan of California, visited Marion on 
her set the other day and if jNIarion didn't do 
some exquisite and absolutely rib-cracking 
mimicry for them, I miss my guess. Her 
humor is droll and devastating. The Orsinis 
were captivated. 

pHIL PLANT and Constance Bennett are 
■^ not separated. Don't you ever think it. 
Phil just took part of S:?o.ooo.ooo to which he 
is heir, and went for a little hunting trip in 
Africa. A casual outing, my dear, and nothing 
to get excited about. Connie, who was the 
flapper rage of Hollywood when she was in 
pictures, will join him in January. 

"LTEDDA HOPPER has acquired a 
■*■ •*■ remunerative pastime. When 
she IS not playing in a picture, she 
carts Big Beef and Pork men about 
the California scenery showing them 
choice lots. The charm Hedda ex- 
erts on the screen is invaluable to her 
as a realtor. 

The other day she met a laugh. He 
was a Big Romeo from the Middle 
West. She was showing bjm a 
$75,000 Beverly Hills bungalow. 

"Do you like it?" he queried. 

"I should say I do!" warmly an- 
swered Hedda, every inch the sales- 
woman. 

"Would you like to live in it?" 

"I certainly would !" 

"All right, then. Marry me and 
you can." 

Hedda didn't close the sale, 

A LMA RUBENS, being fashionable, had 
-»*-her appendix removed the other day and is 
now eligible to any bridge club. Not that she 
wasn't eligible before, but to be able to tallc 
about "my operation" is a social distinction 
that cannot be ignored. 

Ricardo Cortez, her husband, rushed fran- 
tically from New York where he was making a 
picture, to be with Alma, who is now weU on 
her way to health. 

npHE lady who tossed "It" to a waiting 
•^ world is busy again. This time she is en- 
gaged in predictions. Elinor Glj-n is forecast- 
ing the flapper of 1036. And how the girls will 
have to change if they want to be in style ten 
years from now! The flapper will be passe. In 

[ COXTIXL'ED ON PAGE IO7 ) 



ETcry advert Isemtnl in mOTOPLAT MAGAZINE is guaranteed. 



Photoplay Magazine — Ad\ertising Section 



97 



Yout^ 



may visit 
Hollywood 

free/ 




C-^CHAT withVoN Stroheim afier watching Aim direff 
a scene from "The Wedding March." Wallace 
Beery in navy coSitime telling funny Stories. Bill Hart 
recalling Slock experiences in her home toun. A Studio car 
to and from the hotel each day. Jack Gilbert, Rod 
LaRoque, and many other stars as personal acquaint- 
ances . . . that is the a£lual experience o/Miss Idalian 
Gamble, of •Alliance, Ohio, -winner of the First 
Annual Romance-Hollywood Contest 
and now you have your chance. 




7\_EXT summer some other lucky person will have a 
free trip to Hollywood. The makers of Romance 
Chocolates desire a plot for a motion piSure, based 
on a human experience in which a box of chocolates plays 
a prominent part. 

^ trip exadly like that o/MiSS Gamble's is offered to 

the winner. Qet Started now. 'Remembersome incidentthat 

occurred in conneSion with a box of chocolates and work it 

^ up into a plot for a movie. Think of the thrill of being an 

honored gueSl in the land of romance. 




Miss Idalian Gamble 

winner of the 1926 Contest 
with Wallace Beery in 
Hollywood. August. 1926 




CO KiTHriO KS 

1. The winner will be the author of the most original, inter- 
esting, and praSical synopsis or plot for a motion pifture 
based on a human experience in which a box of Romance 
Chocolates plays a prominent part. Literary ability will 
not be considered, but in case of a tie, the neatness and at- 
traftiveness of the presentation will determine the winner. 
No manuscript shall be more than 1500 words in length. 

2. The winner, and a companion of his or her choosing, 
will be given a trip to Hollywood, including visits to the 
studios during a week's stay there, with all expenses paid. 
In addition, the fifty most worthy plots will have careful 
consideration by the scenario department of one of the 
large distributing companies, and if any are purchased, 
the full purchase price will be remitted to the author. 

3. The Judges will be: 

Mr. James R. Quirk, Publisher o(Thotop/ay. 
Mr. Robert E. Sherwood, Editor of ^ife. 
Mr. Frederick James Smith, Critic for J^iberty. 

4. There is nothing to buy in order to enter the Contest. 
The illustrated booklet, "How to Write for the ^JMovies," 
is simply to help contestants. 

Entries should be sent to Contefi •JManager, Cox Confec- 
tionery Company, Boston 28,Massachusetts,and must be 
received there before the close of business on June 1,1927. 




''How to Write 

for the yJMovies" 
may help you win the trip ro Holly- 
wood. Ir costs you nothing, for ic is 
packed in every box of the famous 
Romance Selections at the regu- 
lar price of $1.00. Seleftions contain 
22 different kinds of centers, includ- 
ing liquid cordials and solid nuts 



OMANCE 

CHOCOLATES 



When you write to adtertlsers please meotioii moTOPLAT MAGA2IXE. 




Photoplay Magazine — Advertising Section 



Friendly Advice on Girls' Problems 



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Frostilla repairs the damage of 
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[ COXTINXTD FROM PAGE 92 



Irish: 

Your weight should be about one hundred 
and tuenly-four pounds. A few pounds differ- 
ence, either way, is of no serious concern. 

Bobby: 

You are about eight pounds overweight, but 
I shouldn't tr\' dieting. It is up to you to cor- 
rect your round shoulders. Don't allow your- 
self to fall into the careless habit of slumping or 
slouching. All the exercise in the world will not 
help you. if you do not sit and stand correctly. 
Here is an exercise for the fat on your should- 
ers: Lie face down on the floor. Keeping your 
heels together and your feet on the floor. lift 
j-our bodj' upward from the waist. Then lower. 

iljss Discoxtent: 

Yours is a thoroughly modem complaint. 
Y'ou seem to be just a little too popular. If 
people say things about you that hurt you. the 
only way to end the gossip is by proving that 
these things are quite untrue. Cultivate the 
friendship of serious, sensible girls and avoid 
the male and female gossips. Your angle on 
men is quite wrong; tlie worthwhile men who 
are accomplishing real things haven't time to 
waste in the "gay sets." The real men — the 
business and professional leaders of the future 
— are hidden away under the social surface. 
And they would be mighty glad to know a girl 
who isn't eternally demanding jazz parties. 
You have had jour fling of popularity; now you 
can afford to be more discriminating in your 
choice of friends. 

Fluffs- - 

Your mother's objection to this boy simply 
because he is homely seems to me unreasonable. 
From your glowing description of him, he 
seems to be all that is desirable in the way of a 
beau. You are old enough to have some "say" 
in the choice of your friends. Why don't you 



persuade your mother lo meet him and tall 
with him? She probably \\o\Ad learn to lik( 
him, especially if you urged him to put on hi; 
prettiest manners when he calls. And jou 
might tell >our mother that most of the great 
men of the world have been downright homel.v. 
Have a frank talk with your mother. Tell her, 
plainly, why you don't care for the other yoimg 
men. 

I think if you put the problem up to her 
fairly and squarely, she will be willing to give 
the young man a chance. 

M. G. B.: 

You are only four or five pounds over^-eight, 
at most. I think you will tind the exercises and 
regime recommended in the September issue of 
Photoplay most effective. Wear black, re- 
lieved by white, all shades of blue, burgundy 
and dark red. orchid and canarj- yellow. Blues 
should be especiaUy becoming to you. 

Trix: 

You are about ten poimds ovenveight. Go 
at the reducing slowly, beginning with simple 
exercises at first. You can wear browns, pale 
yellows, pale pinks, pale blues and dark purple, 
in writing a business letter, put the name and 
address at the top. In a personal letter, this 
isn't necessary. 

Ele.anor: 

I daresay your "crush" won't last long. 
Don't let the boy tease you. Naturally, he 
will keep on as long as he sees that it upsets you 
so. There's a lot of small-boy mischief, even in 
a grouTi man. The next time he tries it, laugh 
at him. Don't take him seriously. Go out 
with other bo\"s and enjoy yourself. And let 
him see that you are enjoj-ing yourself. It will 
be good for his conceit. Don't let h im see that 
you care too much. 




If the girls of 1898 ever walked home from a ride in a horseless 
carriage, they would have reached their destination before the 
chauffeur. This bouncing buggy — a relic of the Nineties — is used 
by George Bancroft to take Irma and Komelia and Iris Stuart to 
and from location 



Every adTertlsetnent in PHOTOPLAY MAGAZINE Is guarante«<I. 



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GAY LORD /FILSHIRE, originator of the Famous 

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[ COXTIXfED FROM PACE 8S ] 

Here's a Challenge More Drama, Colleen 




Colorado Springs. Colo. 

I started something: when I announced to 
some friends that I didn't belie\e there were 
many good actors in the mo\-ies. The most, I 
insisted, were just charming personalities, but 
not actors in any sense of the word. 

"Write that to some magazine,' howled one 
of my combatants, "and see how many agree 
with you." 

There must be a few people who are not so 
moved by a violin rendition of "Hearts and 
Flowers"' and a little dark grease-paint that 
they cannot see how ludicrous it is to call 
Lilhan Gish the "Duse of the Screen." Was 
Lillian's Mi'mi the dirty, sensual, fascinating 
gutter-snipe of "La Boheme" or was she 
lovely Lillian? 

But was not Gilbert's Rodolp/ie the Rodolphe 
^•e knew before someone canned "La Boheme"? 
And was there any trace of the small town 
Professor we knew in "The Snob"? Xope! 
They were two distinct t\-pes played by a 
clever actor who submerges his personality into 
the part he is creating. Isn't that good acting? 
And can you name many others of the silver 
screen who can do that? 

E. D. 



And Why Not Censor the Stage? 



St. Johnsville, X. Y. 

Let the critics carp and the reformers rant! 
Jleanwhile. the motion picture progresses 
along its way — impro\ing each year as the in- 
creasing number of splendid releases show. 
Why discriminate against any particular part 
which may or may not be suggestive, when the 
etiect as a whole is good and the theater-goer 
has been pleasantly entertained? 

"E\-iltohim who e\-il thinks." A film is bad 
onl)' in proportion to the e^il in the thoughts 
of those who witness it. Some insipid, plotless 
fikns there are. just as there are books and 
plaj-s which have no excuse for being. If the 
mo\-ies must come under Federal Control, let 
ever\- stage production be treated likewise. 

There is not one picture in one hundred that 
the reformers could justly "take a crack at." 

WTiy pick on pictures. an\-way? The recon- 
structionists do not exactly know what changes 
thev want, but thev must meddle with some- 
thing. 

;My bouquets are all for those who produce 
the "poorman's opera" and a big brick for the 
would-be reformers who would eventually re- 
form nothing. 

D.4ISY Reed. 

A Real WeU- Wisher 

Ogallala, Xeb. 

I have been a constant reader of Photoplay 
and read the Brickbats and Bouquets that are 
sent to the Editor with sorrow in my heart for 
some of the brickbats that are hurled against 
some of my favorites. 

I am an old woman of sixty-five years and I 
enjoy going to the mo\ies about as well as 
anyone on earth ! I have my opinion of anyone 
who condemns them. I am also ver\- much 
interested in the stars buWng and building 
their beautiful homes and never tire of looking 
at the pictures of their homes. It proves to me 
that their hearts are in the right place. 

if y sorrow deepens when I read of the death 
of a favorite one and of the separation of wives 
and husbands. I am sure the stars all have 
worked hard and are doing their best to make 
us good entertainment. And why throw- 
brickbats? 

I enjoy them all and hope to. as long as I 
am able to toddle do\\"n to the mo\ies. 

JIes. C. a. Eikee. 



Sorrento. B. C, Canada. 

Why must our adored Colleen Moore be 
starred in such worthless, foolish pictures? 
Xot long ago I saw "Irene." Colleen, as 
Irene, was perfect, as usual, and she was well 
supported as far as the cast went, but of all the 
silly, unoriginal plays — it didn't even boast a 
plot. The only thing that could be said of it 
was that it gave some of us, who are obliged to 
live in small hick towns, an idea of the spring 
fashions. 

We don't want to see little Colleen as a 
clothes horse. We want the Colleen of "So 
Big," the real artist. Let her show what she 
can do. Give the public a real, honest-to-good- 
ness Colleen Moore picture for a change and 
then watch out for the bouquets! 

Flora K. 

Mademoiselle Is Right 

Pittsburgh, Pa. 

Since I am in the United States I regularly 
buy your magazine, which is the most sincere I 
ever read. Therefore I dare write you the fol- 
lowing lines. 

I cannot help feeling indignant about the 
way the mo\ies present Paris Ufe and French 
women to the .-Vmerican public. 

Those responsible for this do not know Paris 
at all. They go to the Ville Lumiere ''Cit^' of 
Light) with the intenrion of ha\ing a good 
time. Therefore, they go to places like the 
FoUies Bergere, where no self-respecting 
Parisian ever goes. There our -\mericans meet 
some demi-mondaines and return to America 
knowing all about Paris and French girls. 

Xever yet have I seen a play able to make 
theatergoers acquainted with France's best 
people. I am far from thinking of the aristo- 
cratic; I think of the bourgeoise or middle 
class. It is in the latter that the photoplay 
writers ought to look for the real French girl 
She is far more interesting than the silly, idle, 
well-dressed vamp the movies have made of 
her. Xot more than one in one thousand can 
be found who uses any make-up except powder. 

I do not exaggerate at all. Ask Ricardo 
Cortez, who comes from ^\lsace-Lorraine and 
ought to know the dear, witty, charming and 
simple girl the Francaise is. 

Bl.\n'Che Michel Ger.\iu>. 

A Ray Rave 

Boston, Mass. 

This is an appeal for Charles Ray, the one 
actor, who, in my opinion, can be classed as 
great. 

Xearly everj' time an actor is fortunate 
enough to be cast in a picture of more than 
ordinary' merit, there's a great rejoicing among 
some cridcs and fans heralding the new arrival. 
j\nd if he is well cast in his next few pictures, 
some writer remembers a prophecy made and 
we have another "greatest" actor. 

Ray is therefore at a disadvantage in ha\ing 
seldom appeared in a spectacular production. 
Excepting one, he has only program pictures 
to his credit. And yet in these program pic- 
tures, in stereot\ped roles, he has reached 
heights unattained by any other mo\ie actor. 
Ray blazed paths in acting and directing. 

I think the unassuming titles of Ray's pic- 
tures have been against him. For instance, his 
"Old Swimmin' Hole" was noteworthy, but 
attracted ver>- little attention. "The Girl I 
Loved" was Ray's best, and for that matter 
the industr>'"s best, but on account of inade- \ 
quale exploitation it did not attract as much 
attention as it should have. Ray has started 
over and I am confident of his success. 

Frederick X^. Gordon. 
[ coxnxtxD ox pace 143 ] 



Every aiSTertisement In PHOTOPLAT MAGAZINE Is cuarauteed. 



Photoplay Magazine — Advkrtising SEcnox 



lOI 




in 



Long Pants 



VroAuced by the HARRY LANGDON Corporation 



You have lost touch with outstanding screen 
events if you have never seen the comedian 
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1926. 

" Superb" — *' unparalleled " — " priceless" — 
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and "The Strong Man." 



But to see him in his latest is to know him 
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I02 



Photoplay M.\gazine — Adnertisi.ng Section 



Your age 
revealed 

in one of these 3 places 




B" 



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City .. 



[ COXTIN-TED FROM PACE 31 ) 



Xow second man at the Pitt Theater. Hur- 



iWeek and a half elapses here.) 

Got a -telegram from mother: ".\rchie ver>' 
lou'. Not much hope. Come if possible. 
Mother." (Archie was Richard's brother.) 

Start home. 

Arrived in Minneapolis. At fjrst Archie 
didn't recognize me. Under anaesthetic for 
three hours. 

.\rchie worse. 

Phone rang tonight, .\rchie worse. Ma and 
I. Jack and^Lance started in Ford. 2:35 in 
morning* Archie dead before we arrived. 

Offered S50 a week as leading man, Dallas, 
Texas. 

"The Fourth Estate." Aly first lead. I like 
it. Xen.'ous at rehearsal.' Terribly nen-ous. 

Pray for me, Dix, this is my big chance! 

I was ner\'ous but got through the opening. 
I love my work. Think of it. Me. A matinee 
idol. Two girls followed me all the way home. 
Ha, ha! I am some matinee idol. 

f^The company closed shortly after and Dix 
returned to New York.) 

Waited in Packard Agency office 11 to i. 
To see Faversham. No luck. 

I am broke. I'M BROKE. 



Heard from Belmore, Faversham 's stage 
director. 

Xo mail, no money. Desperate. Going 
to pawn my dress suit. 

Pawned my dress suit. One collar. Didn't 
dare get Iaundr>-. Tried out for Faversham. 
He liked my work. 

Walked around without a bite to eat. 

Pawned another suit. 

Walked for hours. Ate two fried rices. Re- 
hearsing hard. 

Broke again. Faversham taught us a dance 
to insert. 

Had a chop suey. Appointed assistant stage 
" manager. 

Got Sio from Pa. Bought a derby. 

My feet are darned near blistered. Bor- 
rowed advance on salary-. Got dress suit out of 
pawn. My feet ached. Had to run all day for 
props. Conway Tearle is new leading man. 

Ate at Automat. Ate! Tearle seems like a 
good egg. I'm broke again. 

To .\lbany for the show to open. Went big. 
As assistant stage manager had to watch them 
pack. Tired as the dcNTl. 

Show went off great. (This was " The 
Hawk".) Faversham said I had a future. 
Gabriel Dorziat, the leading woman, gave me a 
carnation. Dixl 




The big crepe hair and mustache man from HoUj'w'ood. George 
Westmore, make-up man de luxe, handles three thousand extras 
a day on De Mille's **The King of Kings" set. He has twenty 
assistants. Two of them are his sons — Wallie and Monty, who are 
seen here. There are three more Westmore heirs, not apparent, — 
Percy, Ernie and Dorothy, also tonsorially talented 

Every Hdvertlsement In THOTOPL.^T SIAG.XZIN'F: Is guaranteed. 



Photoplay Magazine — Advertising Section 



lo-: 




at ts (jcttQ 





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I04 



Photoplay Magazine — Advertising Section 





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Does Rudy Speak From 
the Beyond? 



[ CONTIXTED FROM PACE 39 ] 

everj-body. He wants earth-people to know 
and realize that there is no death and no sepa- 
ration. He wants earth-people to miss his 
heartrending experience. He' wants them to 
realize and believe in the beauty and perfection 
of this after-life." 

// Valentino were to live a^ain, would he try 
motion pictures? 

"He would tr>* whatever circumstances per- 
mit. He would have to meet the problems of 
the earth-life." 

Miss Rambova, after giving her answers, 
elaborated upon them. She says that ?he be- 
lieves firmly that the messages come from 
Rudy. '' \\'hen we receive a telephone message 
from another city," she countered, "how do we 
know who is speaking? From mannerisms, 
from thoughts, from the topics of conversation. 
Ever)- message from Rud\- undeniably has car- 
ried authentic earmarks." 

TASKED Miss Rambova what relation mar- 
-*■ riage had to the astral. "Marriage is physical 
and of the earth,'' she answered. "If, how- 
ever, this union is sincere and real, the spiritual 
contacts remain the same after one's passing." 
To her spiritual closeness to Rudy, Miss 
Rambova attributes her messages. 

1 asked Miss Rambova regarding her use of 
mechanical writing during her marriage with 
\'alentino. '*Rudy was really psychic. We 
used to do mechanical writing a great deal,"' she 
said. "One of our principal spirit contacts was 
an old Eg^-ptian who calls himself ^Meselope. 
He gave us psychic lessons and prayers but 
never spoke of material things. Just once he 
spoke of the earth to me. That was the Friday 
before Rudy's death. I had received that day 
a cablegram from Mr. Ullman. stating that the 
physicians behevedRudy out of danger. Mese- 
lope told me that night that Rudy would not 
recover." 

Miss Rambova believes in reincarnation. 
"We come back without memor\' to see if our 
lessons have been thoroughly learned." she 
says. "Xow and then we have faint, dim 
catches of previous existences. I believe that I 
Uved in previous ages, as did Rudy. Un- 
doubtedly we met. The memories and lessons 
of those existences are not clear, of course. If 
they were we would be at a point of psychic 
perfection." 





Emil Jannings' Last Laugh. Just 
before Jannings sailed for Europe 
his friends gave a party. And they 
served plenty of the sort of drinks 
that are forbidden in America but 
not verboten in Germany 



EveiT adrertisernent la PHOTOrLAT MAG.\ZIXE 13 euarantecd. 



Photoplay Magazine — Advertising Section 



105 



You Must Make Men 
Behave 

[ co\tixi.i:d from page 43 ] 



American busmcss men had found someone to 
appreciate us, and the speculation as to whether 
my wife \vould think I had had anything to do 
with Mademoiselle Marchal's conclusion about 
making men behave. 

Vou know how \\ives are. 

"Well — there is this ditTerence." she said, 
helping herself to the French pastn- — I did tn- 
to make the girl feel at home — "In France, the 
men mix everything up. A little business — a 
little pleasure — a Httle love. Vou see? Over 
here, the men have what you call— now wait. 
Somebody has told me that and 1 have madaup 
my mind to remember because it is such an e^;- 
pressive one. Oh yes — men ha\c a one-track 
mind. When they do business, the}^ thiak of 
nothing else. Fat, sleep, business. Work all 
day. all night. 

•' liut when the track is lQ\e — they are ex- 
actly the same. They get so much in lo\e they 
think, eat. talk love. They concentrate," She 
was noticeably pleased with this word. 

She paused, a little dreamily. "I think I 
like it." she decided. " liut it is not good for 
the men. It would be much better to — mix it 
up a little. 

*" I'hey would live longer. 

■'ila\be the men are responsible for this 
propaganda about themselves — that they do 
not understand love. Maybe that is a good 
way to keep the ladies happy at home, eh? Or 
maybe the American ladies wish to keep it a 
secret all for thcmsehes. Or maybe they do 
not appreciate their men. Sometimes the 
peaches on the tree in the next yard look much 
better than those on our own." 

She laughed and showed all her pretty white 
teeth. 

"T HAVE been in America one year. I like it 
■^ \ery much. But I ha\e had many, many 
surprises. It is not at all as 1 had suspected. 
I find many men who understand love. I find 
many women who understand art. I find much 
culture and kindness. 

" And the American girls, they are so beauti- 
ful. 

"The most beautiful in the world. I think." 

Miss Marchal \\as born in I'aris and edu- 
cated at a convent near \'ersailks. So you see 
she should know whereof she speaks. Those 
convent girls! 

She played in pictures in France for three 
years and might be there yet if it hadn't hap- 
pened that Clloria Swanson saw her and in- 
sisted on having her in "Madame Sans-Gene.'* 
Gloria certainly has done a lot for France. But 
then, it's been mutual. France has done a lot 
for her. 

And certainh' they reward her greatly, if 
Miss Marchal's gratitude is any criterion. Her 
eyes actually flooded with tears when she 
spoke of ihe Marquise. 

"Oh, there is no other woman in the world 
like Gloria for kindness, "shesaid, passionately. 
"She has the understanding heart. I love her 
dearly. She was so wonderful to me when I 
first came to this country'- 1 could speak not 
one word of English and I knew nobody. 
Gloria made those first days livable. I shall 
never forget it." 

Paramount has Just renewed a long-term 
contract with .\rlette Marchal, whose recent 
work as the Russian adventuress in "Diplo- 
macy" got a lot of praise from the critics. She 
is now working with Adolphe Menjou and 
Greta Xissen as the brunette in "Blonde or 
Brunette." 

As far as I'm concerned, I hope they'll 
make it for life. 

I'm sure somebody wiU before long, what 
with her eyes and her accent and her opinion 
of American men. 




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What the Stars and Directors Are Doing 7\[0W 



WEST COAST 

(Uniesi otlierwise specified studios are at HoUj/wood) 
CALIFORNIA STUDIOS. 1424 Beechwood Drive. 



CHADWICK STUDIO. 1440 Gower Street. 



James Young directing " Driven from Home" with 
Virginia Lee Corbln . 



EAST COAST 



Raoul WaLsli directing "Tiie Monkey Talks" with 
Olive BordcD. Jacques Lerncr and IJon Alvarado, 

F. W. Mumau completing "Sunrise" with George 
O'Brien. Janet Gaj-nor and Margaret Livingston. 



KRATON STUDIOS. 1025 LllUan Way. 



LASKTi' STUDIOS. 5341 Melrose Ave. 

Jolin Waters dlrectinp "The Mysterious Rider" 
with Jacli Holt and Betty Jewel. 

Erie Kenton directing "The Beautiful Blonde" 
with Raymond Griffith. * 

William Goodrich directing "Special Delivery" 
with Eddie Cantor and George Bancroft. 



COSMOPOLITAN STUDIOS. I27th St. and Second 
Ave., Xew York City, 

.4lbert Parker directing Gloria Swanson in her 
second production as yet untitled, (United 
Artists.) 

James Ashmore Creelmao directing Ben Lyon and 
Mary Brian In "The Duke of Ladles." (First 
National.) 

FOX FILM STUDIO. 5oth St. and 10th Ave.. New 
York City. 



PARAMOUNT STUDIOS. Pierce Ave. and Sixth 
St.. Long Island City. N. Y. 



CH.4RLES CHAPLIX STUDIO. 1416 La Brea Ave. 

Inactive. 

CHRISTIE STUDIOS. 6101 Sunset Blvd- 

JimmEe Adams. Bobby Vernon, Anne Cornwall, 
Jack Dufly and Neal Bums — all working on two 
reelers as yet untitled. 

COLUMBIA PICTURES. 1438 Gower St. 



Production will soon start on "The Price of Honor" 
with Dorothy Revler and Malcolm MacGregor. 

Da\1d Selman directing ■Paj-ing the Price" %rtth 
PrisciUa Bonner and Mary Carr. 



David Selman directing " Remember" with 
Dorothy Philll pa. 



Frank Lloyd directing " Children of Divorce" with 
Hedda Hopper, Clara Bow. Esther Ralston and 
Garj- Cooper. 

Production will soon start on "A Kiss in a Tasi" 
with Bebe Daniels and Douglas Gilmore. 



METRO-GOLDWYN-MAYER STUDIO. Culver 
City. Cal. 

George Hill directing "Buttons" with Jackie 
Coogan. 

Edward Sedgwick directing "Red Pants" with 
George Cooper and Bert Roach. 



William Nigh direeting "Mister Wu" with Lon 
Chaney. Gertrude Olmstead, Renee Adoree. Ralph 
Forbes, Louise Dresser. 



ABROAD 



Dorothy GIsh Is working on " Tip Toes." 
Antonio Moreno has been signed as leading man. 



CHANGE EV TITLES 

FIRST NATIONAL 



DE MILLE STUDIOS, Culver City. Cal. 

Cecil B. De Mille completing "The King of Kings" 
with Jacqueline Logan, Joseph Schlldkraut, Dor- 
othy Cummlngs. H. B. Warner. Victor \arconi, 
Rudolph Schildkraut. Ernest Torrence. Charles 
Ray, Theodore KoslotT. Bryant Washburn. Sally 
Rand and Sojin. 

William K. Howard directing "While Gold" with 
Jetta Goudal. and Kenneth Thompson. 

Production wjll soon start on "The Little Adven- 
turess" with Vema Reynolds and H. B. Warner. 



1 Talmadge and John Barrymore between 



Story for Marj- Pickford's next production In 
preparation. 

Connie Talmadge between pictures. 



P.AJl.\ .MOUNT 



UNITED .\RT1STS 



"The Beloved Rogue" will be released as "The 
Ragged Lover." 



BUSEStSS OFFICES 



Lupioo Lane, Al St. John and Lloyd Hamilton — 
all working on two-reel comedies as yet untitled. 



F. B. O. STUDIOS, 7S0 Cower St. 

J. Leo Meehan directing "Mother" with Belle 
Bennett. 



FINE ARTS STUDIOS. INC.. 4500 Sunset Blvd. 



Jacques Jacquard directing " The Outlaw Breaker" 
with Yakima Canutt and .Alma Rayford. 



FIRST NATIONAL STUDIOS. Burbank, CaL 



Millard Webb directing "Three in Love" with 
Lewis Stone. Billle Dove and Lloyd Hughes. 



FOX STUDIOS. 1401 N. Western Ave. 



Ben Stoloff directing "A. W. O. L." with Nancy 
Nash, Gene Cameron and Judy King. 



ROACH STUDIOS, Culver City. Cal. 

Our Gang, Mabel Normand, PrisciUa Dean and 
Chafley Chase — all worldng on two-reelers as yet 
uQtllled. 



SENNETTSTLDIOS. 1712 Glendale Blvd. 

Ben Turpln, Madeline Hurloci;, Raj-mond McKee 
and Mary Ann Jacl;son — all working on two- 
reelers. 



TEC-ART STUDIOS. 5360 Mehose Ave, 



Charlie Hlnes directing ' All Aboard " with 
Johnnie Bines and Edna Murphy. 



UNIVERSAL STUDIOS. Universal City. Cal. 

Production has started on "Cheyenne Days" with 
Hoot Gibson and Blanche Mehaflcy. 

L>'nn Rej-nolds directing " Back to God's Country" 
with Norman Korr>- and Renee Adoree. 

Production will soon start on "The Camels Are 
Coming" with Reginald Denny. 



WARNER BROS. STUDIOS. 5842 Sunset Blvd. 



Herman R.iymaker directing "The Gay Old Bird" 
with Louise Fazenda and John T. Murray. 



Production will soon start on " Bitter Apples" with 
Monte Blue and Myma Loy. 



Associated Exhibitors. Inc.. 35 West 45th St.. New 
York City. 

Associated First National Pictures, 383 Madison 
Ave.. New York City. 

Chadwlck Pictures Corp., 729 Seventh Ave.. Xew 
York City. 

Columbia Pictures. 1600 Broadway. New York City. 

Educational Film Corporation. 370 Seventh Ave.. 
New York City. 

Famous Players-Lasky Corporation (Paramount). 
485 Fifth Ave . New York City. 

Film Booking Offices, 1560 Broadway. New York 
City. 

Fox Film Company. 10th Ave. and 55lh St., New 
York City. 

Inspiration Pictures. 565 Fifth Ave., New York City. 

Metro-Goldwyn. 1540 Broadway. New York Clt>'. 

Palmer Photoplay Corporation, Palmer Bidg. Holly- 
wood, Calif. 

Paihe Exchange. 35 West 45th St.. New Y'ork City. 

Producers Distributing Corporation, 1560 Broadway, 
New York City. 

Rothacker Film Mfg. Company. 1339 Dlversey Park- 
way, Chicago, III. 

Tiffany Productions. 1543 Broadway, New Y'ork 
City. 

United Artists' CorporaUon, 729 Seventh Ave., New 
York City. 

Universal Film Mfg. Company. Heckscher Building. 
5th Ave. and 57th St., New York City. 

Warner Brothers. 1600 Broadway. New York City. 



106 



Photoplay Magazine — Advertising Section 



Studio News and Gossip 



[ CONTINXrED FROM PAGE 76 ] 

her place will be a discreet, intellectual, retiring 
elusive, "hard to catch" gal, and if Madame 
Glvn dictates her attire, she will resemble a 
cross between a nun and Queen Marie, all done 
up in a swathe of chiffon. 

Madame Glvn tried it on Clara Bow, who 
accepted it amiably as part of the starring 
role of "It." Madame Glyn's current film offer- 
ing. In her no\el "Xew Woman," which ap- 
pears simultaneously with the film, Madame 
Gh'n points out that the flapper of today was 
created as a diversion for and by the lired 
business man. . But poppa will become rested 
and want to pursue his mate through a thicket 
of intellect and woo her by the lake of mental 
equality. And so forth. 

Run out and buy little sister a thesaurus, 
if you want her to be a social success in 1036. 

gODIL ROSING is having a ter- 
"^rible time in Hollywood. Not that 
she is being snubbed by the produc- 
ers or stars. Quite the contrary. It's 
her quaint old-world name that 
causes the trouble. She is Monte 
Blue's mother-in-law, you know, 
and was a Copenhagen actress of 
distinction twenty years ago. But 
more about the name. 

At an opening the other night the 
announcer yelled, grandly including 
the left half of the auditorium in his 
wave : "Ladies and gentlemen, this is 
Bodil Rosing!" 

Turning to the right, with large ges- 
ture, he said: "This, ladies and 
gentiemen, is . . . er . . . ah . . . 
Rodil Bosing!'* 

It's a cosy round-sounding little 
name, when rightly pronounced, and 
as charming as the Danish actress 
herself. 

DOXALD CRISP tells this one on himself. 
He was acting as master of ceremonies at a 
Grauman presentation of "The Black Pirate," 
which he directed, and was presenting members 
of the cast, among whom was Billie Dove. 

jMr. Crisp doesn't admit that he was ner\'ous, 
but these darned memories of ours play us the 
vilest tricks. "Ladies and gentlemen," he 
enunciated roundly, ''I want to introduce one 
of the loveliest ladies on the screen. Her 
charm, her beauty and her talent you have 
observed tonight. IMay I present the leading 
lady of this picture, Miss Bessie Love?" 

There was applause — of course. But it 
wasn't until, off-stage. Billie quietly said: 

"Mr. Crisp, you introduced me as Bessie 
Love." 

What could the man do? 

"That's nothing compared to what I did," 
remarked a beautiful and famous blonde, who 
was listening. "I was giving a luncheon in 
honor of Mrs. Leslie Carter and I, too, made a 
speech. I said at the end of the glowing talk, 
* .\nd now I want to present our most famous 
American actress, Minnie Madern Fiske!' " 

COMETHING new in separations came with 
^the Santell "friendly disagreement." Both 
.\1. who is a director, and his wife continue to 
live in the same house, but there is a thick, 
thick wall of argument between them. Per- 
haps it will dissolve. There have been other 
arguments. Both say there will be no divorce. 
Several months after their marriage three 
years ago, Al filed suit for divorce, which his 
j'oung wife, only 10 then, answered in a cross- 
complaint. She attempted suicide a week 
later and upon her recovery they were reunited- 




t^^" 



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"^K Jjmuted 

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Photoplay Magazine — Advertising Section 




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A XOTHER honoran,' fire marshal in Holly- ] 
■**-\vood social circles. Probably the smallest I 
on record, too. Master Dand Herbert Raw- 
linson, ver>' young and ver>' much loved infant 
son of Mr. and Mrs. Herbert Rawlinson. who 
made a recent appearance. Not only is Da\id 
Herbert a fire marshal, but a member of the 
Masquers' Club, the actors' organization, of 
which Herb is a popular member. 

Little Sally Ann, eighteen months on thisj 
earth, stays home with mother when the men! 
go to their important meetings. | 

"DRING on your rolling pins and crutches. 
■'-'Gertrude Short and "Pcrc" Pembroke are 
celebrating their first year of married bliss. An 
engraved and panelled announcement says so. 
AVhich reminds me that Gertie is getting a lot 
of glances, not garters, because of the unique 
bonnet she wears at first nights. It's shaped 
like a baby's, ties beneath the chin and is made 
of chifi^on and soft lace. It makes Gertie's 
round young face look absolutely cherubic. 

"yOU'RE all wrong, Hector, if you 
•*■ think a movie director leads a 
nice quiet life. Not when he is film- 
ing a biblical spectacle. Look at 
C. B. De Mille, who is busy with'*The 
King of Kings." There is this creed 
to offend and that sect to insult. 
There must be no partisanship. His 
enemies, and what successful man 
has no enemies? can harpoon him. 
But De Mille takes it philosophically, 
and with a dignified humor. 

For instance the story came to him 
that a paper had made the announce- 
ment that "King of Kings" dealt 
with a "triangle" situation. That the 
triangle consisted of Judas, Mary 
Magdalen and the Christ. 

The idea was preposterous, and 
De Mille remarked, slowly, when 
he heard it: 

"They must have confused *the 
triangle' with 'the Trinity.* 

A BRILLIANT and rather highbrow Eng- 
lish novelist was dining at the home of Mr. 
and Mrs. John McCormick. Mrs. IMcCormick, 
as you probably know, is Colleen Moore. 

.After dinner they were sitting in the drawing 
room, and the novelist, being ver>' chatty, re- 
marked, "D'y'kriow, Miss Jloore, there's one 
custom in America I can't u-iderstand. 
Dreadful habit, really — this giun chewing. 
Can't see how anyone could bring themselves 
to it — che\\'ing gum, y'know." 

Colleen scarcely restrained a blush — being 
slightly addicted to the "dreadful" habit in 
moments of excitement — and leaped to a safer 
subject. But Ben, her priceless Japanese 
butler. ha\'ing heard the word gum, spilled the 
beans entirely by rushing out and returning 
with a fresh package of gtim on a neat silver 
tiaj'. 

Ha\'ing heard the word gum he had in- 
stantly invaded Colleen's private locker to 
procure some for the exalted guest. 

"And if looks could kill," said John McCor- 
mick, "Colleen would be in jail right now." 

JANET G.WNOR \\in5 the handpainted xim- 
brella holder for the month's best fan letter. 
It came from a man in Baltimore who had seen 
her in a picture. Janet, if you don't know, is 
one of those demure little persons who was 
bom for flower-sprigged voiles, flounced para- 
sols and a rustic seat in a garden. The man got 
the same impression. 

"Dear Miss Ga^-nor," he wTote, "I am wor- 
ried about the flowers in my Pasadena estate. 
I think you are the kind of a girl who loves 
flowers. Would you mind going to Pasadena 
and looking at my garden? Perhaps, later, we 
could reach some sort of business arrangement 
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Every .-.dTertiscmcnt in PHOTOPLAY MAGAZINE Is guaranteed. 



Photoplay Magazine — Advertising Section 



109 



"Sunrise," Murnau's first .\inerican picture. [ 
is occupying Janet's present time, so the posies 1 
will have to go untended. 

KATHRYN HILL, the blonde with the 
limpid eyes, who was a Harrison Fisher 
model and posed for magazine co\tTs before she 
went in pictures, has decided to get herself a 
divorce from Ira Hill, the Gotham photogra- 
pher, so she may pursue illusive tilm fame. 
Perhaps you saw her in "The Wanderer."' 

Kathryn has been seen dining frequently 
with Adolphe Menjou, who was recently 
divorced, and there is a bit of HolMvood chat- 
ter about the matrimonial plans of the two, as 
there would be. Adolphe 's choice of dinner 
partner gives an olT-stage answer to his current 
picture, "Blonde or Ilrunette?" Kathr\-n Hill 
is a winsome, wistful, wonderful blonde. 

LITTLE Danny Cupid and not Svengali 
exercised his mystic power and Trilby, 
whose last name is Clark, married Lucio 
Flamma the other day. In case you do not re- 
member. Trilby is both of Australia and the 
Zi.^gfeld Follies, but more recently she was the 
utterly exquisite leading lady to Harr>' Carey 
when he made manful westerns. 

When Trilby and her husband are not acting 
for the screen, they sign themselves Mr. and 
Mrs. Xicolo Quattrociocchi, a name which was 
changed to Lucio Flamma for a ver\' obvious 



POLA XEGRI was the unwitting cause of a 
farmer boy having rainbow-tinted cream for 
breakfast. It wasn't Tola's fault, nor was it 
ihe boy's. It happened that "Bossy." a big 
bovine beauty, had a >'en for interior decora- 
tion and succumbed to it. disasterously. Pola. 
who was in the countr\-side on location, left her 
make-up box by the road and upon her return 
saw the last of her greasepaint being swallowed 
by a brown-eyed cow. Rouge and lipstick had 
gone before. 

Now the stable gossips about "Bossy's" 
colorful career. 

SOME day if you are not too busy watching 
Ronald Colman or Jack Gilbert, please take 
a look at Otto Matiesen who, although not a 
leading man, is a darned good actor. ISlaybe 
you saw that little four thousand dollar pic- 
ture, "The Salvation Hunters." and recall him 
as T}ic Man, a very nasty slimy gent who sold 
joyous ladies to other gents. He was also 
Hans, the idiot, in "Bride of the Storm," with 
the lovely Costello. And he's played in many 
pictures, has the Danish Otto. 

Now, so you will know where to find him 
when you look, he is playing Olivier in John 
Barr\'more's newest, after John himself pil- 
grimaged to Matiesen's hillside home to tell 
him he was just the man for the part. 

A yflLITARY honors marked the burial 
■iVi^er vices of Tom Forman, former actor and 
director, who robbed himself of life at his par- 
ents' beach home. A nervous breakdown 
caused by overwork was the cause given for 
his act, and the picture colony grieved deeply 
for one of its most loved members. There was 
a military cortege and an air squadron attend- 
ant at the funeral, for during the war Tom was 
an aviation lieutenant, and many stars paid 
tribute to their friend and comrade. Tom 
leaves a Tom, Jr., who is six years old, and his 
wife. 

THE death of John Fairbanks, brother of 
Douglas Fairbanks, is being mourned by 
the entire motion picture colony and has 
brought a particularly deep sorrow to Doug 
himself. 

The two brothers had been unusually close, 
and John had long been associated with Doug- 
las in his motion picture career as business 
manager and advisor. He was Douglas' most 
trusted confidant and was very active in the 
days when Mr. Fairbanks began producing his 
own pictures. 




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I lO 



Photoplay Magazine — Adveutisixg Section 




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be found on Page Five below Table of Contents. 




His death came after a long illness that had 
confined him to his bed for many months. Mr. 
and Mrs. Fairbanks (I\lar>'^ Pickford) accom- 
panied the body back to the Fairbanks' home 
in Denver where burial took place. 

A memorial service was also held at Pick- 
fair, many screen celebrities who were friends 
of I he deceased attending. 

John Fairbanks is sur\dved by his mdow 
and two daughters. 

EMIL J.VNMXGS got a great big dazzling 
greeting when he stepped from the train to 
make his first Hollywood picture. Purple 
posies, German friends. Murnau. l.ubitsch, 
Stein, cameras, a battalion of theater ushers in 
white and gold. Mildred and Harold Lloyd, and 
a smashing sign that read "The American Film 

Guild Greets the AVorld's Greatest Dramatic /^\'ER the after-dinner coffee cups at the 
Actor." I'm glad John Barr>'more is broad- ^^Douglas MacLeans' the other evening. 



Parrot," that he immediately dispatched the 
author one of his prized guns, with a letter that 
was typical of "Two-gun Bill." 

Fm afraid Rill is starting something. 
Hergesheimcr will probably get Bill involved 
with one of his superb fiction sirens, when he 
hears of it, just to get a Hart gat. 

"LJERE is proof of realism in motion pictures. 
■*- -*-Von Stroheim was shooting an Alpine scene 
for "The Wedding March" on homemade 
Alps that raised their lofty salt-capped heads 
on the studio stage. Although the day was 
warm one electrician had a sweater collar 
cupped about his ears; Von himself, wore an 
overcoat, and a prop man, an ultra-realist, 
puffed on a Meerschaum. 



LJarrjT 
minded. Seems to me he has worn that title, 
too. 

And, if he wasn't exceedingly tolerant, he 
might make it unpleasant for Jannings. who 
octupies a neighboring bungalow on the Am- 
bassador Hotel grounds. 

r.mil sighed and smiled at the welcome. His 
eyes and his hands moved heavenward and he 
uttered his only English sentence: "I am so 
happy!" 

He should be. I understand he is to have 
Fstelle Taylor as leading lady in his first pic- 
ture. 

SA:M GOLDWYN was glad there was a 
snowstorm in Chicago the day Vilma Banky 
arrived, for it gave her an opportunity to 
become beautifully bewildered and utterly lost. 
And how beautiful Vilma can be when she is 
bewildered, as she often is at our American 
ways. 

Vilma was really lost, however, out on the 
lake front where the wild winds blew, and gold 
coast matrons awaited her at a luncheon given 
in a loop hotel. Parading cadets and middies 
found her near the Soldiers' Field Stadium, but 
whether they escorted her to the hotel, I didn't 
learn. 

BILL HART, as genuine and fine a western 
gentleman as I shall ever know, was so 
tickled at the frequent mention Earl Derr 
Biggers gave him in his novel, "The Chinese 



Douglas BlacLeans ttie other evenmg. 
Doug was reminding Fred Niblo of the first 
picture in which he, Douglas, ever appeared 
for Mr. Niblo. 

"It was a mining picture," said Douglas, 
"and Hal Cooley and I got a job to appear as 
a couple of miners. We were supposed to come 
dashing out of the depths of the mine just fol- 
lowing some terrific disaster within, and stand 
horrified for a moment before dashing out of 
the scene. 

" Hal and I talked it over at great length, for 
it was pretty important in our lives. 

"I thought we ought to muss ourselves up a 
little, since we were supposed to be miners 
escaping from a disaster. 

"But Hal insisted that the important point 
on all occasions before a camera was to look as 
nice as possible. 

"So we had our pants creased and our ties 
cleaned and spent a couple of hours perfecting 
our haircombs. 

"When Mr. Niblo saw us. he gently sug- 
gested that we ought to look more mussed up, 
but Hal just pretended not to hear him and I 
followed suit. 

"Later we sneaked into the projection room 
to see this important footage run. Well, th- 
place came and we dashed out of the mine, and 
then in the silence we heard Mr. Kiblo say. 
'Two of the nicest little miners that ever came 
out of Huyler's.' 

"That nearly broke our hearts, but it was 
worse when they cut the scene altogether." 




The head on the platter belongs to a living, breathing, talking 
man. The rest of his body is concealed somewhere on the set. 
Renee Adoree and Tod Browning are trying to discover the secret 
of the trick. This optical illusion — used in "The Day of Souls,'" 
was made famous by Herrmann, the magician 



Every advert I sempnt In PITOTOrLAT MAG.\ZINE is guaranteed. 



Adam's Other Apple 



Photoplay Magazine 

r 



-Advertising Section 



[ CONTINUED FROM PACE 5 I | 



instant action. They shot the scene wherein 
Mr. Moody, after a hard ride over the track- 
less desert, appeared at the -heroine's marble 
home with the onyx balustrades and broke the 
news that the child still lived and that Sir 
Henry Quirk, the dirty dog, lay dead, with a 
bullet through his sinful skull. 

This meant work for Ben Gillespie, because 
desert dust must needs be sprinkled upon Mr. 
Moody, so that he could shake it off before the 
camera. All afternoon Ben occupied himself 
with sprinkling dust upon Mr. Moody, or else 
brushing it off for fugitive close-ups. 

Meanwhile he glossed the Scarlet Nonpareil 
upon his coat sleeve, admiring the lovely sheen 
when the lights struck it. Between apple- 
polishing ami dust-sprinkling, it was a bus>- 
afternoon for Ben and he went home to supper, 
tired but happy. 

"Going to the movies tonight, Ben?" his 
mother asked, helping him to a steaming plate 
of chicken fricassee, which was one of her prize 
dishes. 

"No," he said with elaborate carelessness, 
"Conna drop in on Lola. Haven't seen her in 
some time." 

THE mother said nothing, but smiled down 
fondly upon his curly head. She had 
always been proud of Ben's curls. 

In his new blue suit, he called upon Lady 
Lola, met her family with the strained gayety 
of a young man calling, exchanged banter with 
the older brother and when the relations had 
respectably departed, leaving the two of them 
to the solitude of the front room. Ben brought 
forth a two-pound box of choicest candies, en- 
tombed in silver foil and riotous with filagree. 
"How lovely," said Lola, removing the foil 
and nibbling. She was a fair haired creature 
with smiling eyes and could throw a caressing 
note into her tones. She could torture Ben 
with the movement of her eyelids, and well did 
she know it. 

"You know what that cost?" Ben asked 
cheerfully. 
"What?" 
"Three fifty." 
" You extravagant boy !" 
" Nothing could be too good for you, Lola." 
She smiled and patted his hand, which lay 
casually upon the arm of her chair. 

" Swell candj'," Ben said admiringly. "Look 
at those raisin nuts." 
"Um," said Lola. 

"And wait until j'ou taste those supremes, 
nougatines, truffles, frozen puddings and choc- 
olate almonds." 

"Um," agreed the girl, eyeing him with 
warm approval. 

" But the main thing that I came over to see 
you about," he continued, "was all this talk 
about your marrying Charley Stimson." 

A slight pause followed. The parlor clock 
clacked softly. 

"My goodness, Ben Gillespie," cried Lola 
suddenly, pushing forward in her chair, 
"wherever did you get that darling apple?" 

Women have been dodging thus, in critical 
instants, for six thousand years and will con- 
tinue to do so until the crack of doom. Ben 
had, in his abstraction, removed the Scarlet 
Nonpareil from his pocket and was idly bur- 
nishing it upon his sleeve, his mind filled with 
thoughts of love and marriage and ri\ airy. 

"This," he said proudly, permitting the light 
to fall full upon the royal fruit. "Oh, I bought 
it." 

"And for me," surmised Lola, her voice 
vibrant with approval. 
Ben hesitated. 

"No," he answered slowly. "I'm using this 

apple. We're going to shoot it in the picture." 

1-ola had set aside the gay box of bonbons 





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112 



Photoplay Magazine— Advertising Section 




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and had half raised one small, white hand in 
Ben's direction, expecting, as any girl' would, 
immediate gift of the exquisite fniit. 

"Why, Ben," she said reproachfully. "You 
know I adore apples." 

" Yeah," said Ben, for the first time aware of 
a faint uneasiness. "But you see, Lola, I got 
to keep this for tomorrow. We shoot this in the 
love scene." 

"Ben Gillespie !" 

Maidenly reproach, disappointment, blasted 
hopes — everi'thing wasin the two simple words. 

"I'll tell you what," he suggested brightly, 
"I'll trot over to the boulevard and get you an 
apple. Lola. I'll bring you back an apple that 
you'll like, because I know just where to go." 

LOLA merely looked at her suitor. There was 
tragedy in her lovely eyes. There was in- 
credulity in the lift of her chin. There was 
amazement and bitterness in the tone of her 
voice, when she spoke again. 

"Do you mean to sit there, Benny Gillespie, 
and tell me you won't give me that apple, 
especially when I ask you to give it to me?" 

Ben wriggled uncomfortably upon his plush 
chair. 

"Now listen, Lola," he argued desperately. 

He then explained about Director Couzens 
and what he had commanded and what he in- 
tended to do; about Miss Reynolds and Mr. 
^Moody and how he, Ben, would have to stand 
on the morrow immediately outside the draw- 
ing room set, beyong the camera line and at the 
word from Mr. Couzens, hand the Scarlet 
Nonpareil to the star. Lola Ustened frigidly. 

"You could get another apple," she said 
with maidenly coldness, which is the coldest 
coldness there is. 

"No," he protested earnestly. "I couldn't. 
I hunted high and low for this one. I went all 
over Hollywood." 

There was silence in the Emory's sitting- 
room — portentous and painful silence. Ben 
slowly polished the Nonpareil on his coat, and 
looked at Lola, as the miserable criminal in the 
dock looks at the judge. He hoped and half 
expected she would presently break into a 
merry laugh and tell him she had been joking — 
She did nothing of the sort. When she spoke 
again, it was quietly and slowly. 

"Ben," she said. "I am glad you came to- 



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II 



night, and I am glad indeed that you brought I 
your apple, because now I can make a decision. 
I never knew before, definitely, but now I 
know. ... I can never marry you." 

"What!" Ben said, stunned. 

"I know now that I am going to marry 
Charley Stimson, and until this ver\' instant, I 
could never decide between >'ou and him." 

"On account of the apple?" Ben asked in 
stricken tones. 

"Yes. Charley will always give me what 
I want. Vou have shown me, with your pre- 
cious apple, the true inside of your character." 

Ben groaned. 

"What do I care about your silly moving 
pictures?" she demanded indignantly. "I 
know now that you are the kind of man who 
would always put other things ahead of me. 
If I were your wife and asked }'ou for a new 
dress or a new hat would I get them?" 

"Yes. indeed," Ben said eagerly. "You bet 
you would." 

"Never. We would ha^■e this apple business 
all over again. True, I may be a trifle sellish, 
but when I want a thing I want it and Charley 
Stimson will alwa>'s give me what I want." 

Ben Gillespie rose up and made a powerful 
and touching pica amid the wreckage of his 
falling romance. He declared it was foolish to 
ruin two lives because of a trifling incident. 
He pointed to his true love for her and his am- 
bition, which would in the end bring them 
riches, limousines and a high estate. 

"No," said Lola sadly, shaking her head. 
"I will ne%er, never marry you, Benny. I am 
sorry, because I have always been fond of you, 
but tonight 3'ou have opened my eyes to the 
real Ben Gillespie." 

"If that's what you think of me, I'll be 
going," said Ben. 

"And I wish you good evening," said Lola. 

With a sinking heart, Ben went home and 
found his mother waiting. 

"You made quite a stay at Lola's," she ven- 
tured. 

"Yeh," he said. "We sort of talked things 
over." 

"Vou and Lola are pretty good friends?" 

"Yes, we always were." 

He retired moodily to his room and went to 
bed. with the Scarlet Nonpareil reposing upon 
his dresser, where the moon could smile in upon 
its rosy magnificence. 

ON the boulevard next morning, as he 
plodded to work, he passed Charley Stim- 
son, who was lolling in a new sedan. 

" Hello, Ben," said Charley. 

" Hello," said Ben. 

" Hear the news about me and Lola?" 

"Y'es. And she's an awful nice girl, Lola is." 

"I'm lucky," admitted Charley. "Well, see 
you later, Ben, old boy. So long." 

He drove off, with Ms new paint jobgleaming 
— gleaming like the glossy coat of the Nonpareil 
in Ben's pocket. 

At the studio, the young man moved about 
his duties sadly. You cannot lose a pretty, 
vivacious, hundred and twenty pounds of fem- 
inine perfection and maintain a gay exterior, 
and all day long the studio folk noticed that 
Ben seemed downcast. 

"When do we shoot this business with the 
apple?" he asked the script girl. 

"Maybe this afternoon," she answered. 

Ben resumed his slow polishing of the Scarlet 
Nonpareil, whose brilliant skin was now as per- 
fect as man and nature could make it. 

All morning, he wandered disconsolately 
about the set, performing his duties me'chan- 
ically. In the afternoon, he ventured to make 
inquiry of Jlr. Couzens. 

"How do I know when I'm going to shoot 
it," answered the director testily. "I'll tell you 
when the time comes. .And quit bothering me 
about it." 

The afternoon passed. So did another day, 
and on Friday afternoon young Ben once more 
sought enlightenment. 

"Why," said Miss Dickenson, turning over 
ihe pages of her smudgy script, "we aren't 
going to shoot the apple business at all." 




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114 



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"^Vhat's that?" Ben demanded, refusing to 
believe his ears. 

' !Mr. Couzens decided the apple stuff wasn't 
any good," the script girl explained. "So we 
cut it out and used some business with a box 
of candy." 

"Holy catfish," said Ben. 

" What's the matter with you?" 

"Xothing much. I've been carn'ing this 
apple around for five days, keeping it ready and 
now he isn't going to use it. Funny, isn't it?" 

iliss Dickenson laughed merrily and called 
the head camera man over to tell him that Ben 
Gillespie had been going about with an apple 
and now they weren't to use it at all. The tale 
spread through the studio and various persons 
stopped Ben to jest with him. He went home 
for lunch, instead of eating at the studio cafe- 
teria. It was Saturday. His mother greeted 
him with the usual words of cheer and gave him 
some news. 

"They're having a party over at Lola's to- 
night," she said. 

"Yeh?" 

"I don't suppose you'll be going." 

Ben shook hjs head. 

"It's an engagement party," said the 
mother. "Lola's coming out and announcing 
her engagement to Charley Stimson. 

"Yeh?" 

Mrs. Gillespie paused and studied Ben with 
reflective eye. 

"I used to think maybe you and Lola would 
hit it oS together after you grew up. I've 
watched you both. You're a fine lad, and 
Lola's a fine girl. I used to think you might 
like each other, I mean in a manying way." 

"Lola's great," Ben admitted. "We've 
always been good friends — only — well — just 
friends." 



I'M baking another chocolate layer cake." 
Mrs. Gillespie continued, with a note of pro- 
fessional pride. "Mrs. Emory came over and 
asked me would I, and, of course, I said I 
would." 

" Who could do it better?" asked Ben. 

As a matter of rare truth, nobody could do it 
better, which was a fact known in \Vest Holly- 
wood, for if there was anyone majortriumph in 
Mrs. Gillespie's culinan.- repertoire, it was her 
chocolate layer cake with frosting. Patrick 
Henr>- had his orator>\ Marconi had his wire- 
less, jack Dempsey had his right hook to the 
jaw and Mrs. Gillespie had her chocolate layer 
cake. 

W"hoever gave a party in Holl>-T\-ood and 
could^ wheedle her into baking a cake did so, and 
had at least one essential of social success, 
because the Gillespie cake was more of a heav- 
enly visitation than a comestible of sugar, but- 
ter and flour. It had made the name of Gil- 
lespie famous and, naturally, when Lola an- 
nounced her intention of gi\'ing an engagement 
party, Mrs. Emor,' asked Mrs. Gillespie if she 
would be good enough to obUge. 

Ben ate his lunch in silence and prepared to 
return to the studio. His mother was already 
busied with the important baking program of 
the afternoon and Ben lingered a moment in 
the kitchen. 

"We gonna have apple pie tonight, mother?" 
he inquired. 

"Of course," she replied. "It's Saturday 
night, ain"t it?" 

Saturday night supper in the Gillespie house- 
hold meant apple pie, in mother's best vein. 
It always had meant apple pie, since the long 
pone days when old man Gillespie ran things 
about the place. He had started the Saturday 
night apple pie for dessert and it had come 
alon^ as a family tradition. 

"Well, mother," Ben said, with a wistful 
smile, "you mipht as well use up this one." 

He drew forth the Scarlet Nonpareil, still 
magnificent in its beauty — the apple that 
hadn't got into the movies. 

"!My stars." said his mother, raising her 
flour>' hands in admiration. "Xow ain't that 
the lovely apple? Where'd you get it?" 

"I bought it," he said casually. "Chuck it 
into the pie." 

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"I will that," she said. 

And so the perfect fruit, which Miss Rey- 
nolds was to have handed to Mr. Moody in 
their love scene at the tire-place, but did not, 
and which Lola Emor>- had coveted from Ben, 
but had not achieved, was tossed into a drawer 
of ignoble small pie-apples, where it lay atop 
its lesser brethren. The ven,- red of its patri- 
cian skin seemed to ref.ect scorn of its sur- 
roundings. Ben went along to work, leaving 
his parent in flour>" confusion over the im- 
portant cake for Lola's evening party. 

PROMPTLY at six o'clock, supper began in 
Ben's home and he sat down with the brisk 
appetite of youth. His mother chatted of this 
and that and of how the Sullivan's place caught 
fire and would have burned to the ground, but 
for Mary Ann; and presently, the moment 
of dessert arrived. 

"I'll have an e.\tra large piece of pie tonight, 
mother," said Ben, whose sentimental Waterloo 
seemed in nowise to have lessened his appetite. 

Mrs. Gillespie looked suddenly aghast. 

"Good gracious, Ben," she said in dismay. 
"I forgot to tell you. We're not having any 
pie tonight." 

"Xo pie," exclaimed Ben, facing the incred- 
ible fact in astonishment. 

"Xo. And this is why. For the first time 
in my whole life. I put too much butter in that 
chocolate layer cake for Lola. It was too rich 
and as sure as I'm here, when I took it out of 
the oven, it fell flat in the middle. It was 
ruined. I couldn't send a spoiled cake over 
to the Emory's, and them ha\ing a party, 
could I?" 

"Of course not," said Ben. 

"And so, knowing you wouldn't mind, I sent 
ihem the apple pie we were to have for supper." 

Mrs. Gillespie smiled upon her son. He 
lighted a cigarette, stared up at the ceiling and 
thought. 

''Did you put that big apple in it?" he de- 
manded. 

" Yes," said his mother. 

"\\'ell. 111 be darned, " said Ben, viewing the 
plain workings of the hand of Fate. "When 
they want a thing, they get it, whether hell 
freezes over, or not." 

"Benny dear, what do you mean?" his 
mother asked. 

" Xothing much," he said. 

He arose, pieless, and kissed her affection- 
ately. 

At that very instant, the pearly teeth of Lola 
Emor>' were descending upon a triangular slab 
of pie, an important and component part of 
which, integral you might say, was the pulpy 
and cinnamon-sprinkled form of what had 
been the cherished and protected X^'onpareil. 

"Um," said Lola, smiling upon her future 
husband. "What nice pie." 



Questions and Answers 



[ CONTIXL"ED FROM P.\GE 04 ] 

Miss M., Oberlix, Ohio. — That's a good 
line you pulled — "Xecessity sometimes per- 
mits new rules.'' It ought to come in very 
handy when you get home late for dinner. 
Your two idols work at the same factory. Ad- 
dress them in care of Paramount, Long Island 
City. But be sure to send Betty and Alfred a 
quarter for their pictures. 

I. T.— News of Ray Haller for you? All 
right. Ray was born twenty-sLx years ago. in 
the city Mr. C. Coolidge now lives in. He 
played on the stage for ahout five years and 
started in pictures in igij. Ray is not mar- 
ried. Harrison Ford, your crush, comes from 
the great open spaces, othenvise Kansas City, 
Mo. Harrison was born in 1S92. He plaj'ed 
in stock before movies. He's divorced. Louise 
Dresser is thirty-eight. Billie Dove is twenty- 
two. 




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Photoplay Magazine — Advertising Section 



Glasses 
^l!^tur€s beauty 



C/^ODAY is an age of beauty. The 
y^ modem womiin no longer toler- 
ates conditions which detract from her 
natural charm. To enhance her loveli- 
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She has come to rcaUze that real beau- 
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Science has at last learned the secret 
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Read what Mrs. Russell Simpson, singer and 
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"I have discarded my glasses forever. No need 
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Address- 
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How to Hold Your Youth 



[ COXTINirED FROM PAGE 



Hormone Excess — the state of glandular over- 
activity. 

Physical Strain — which, coupled with or^janic 
poison or infection. isapotent cause of old age. 
Physical Apathy: Lack of muscular effort and 
faulty muscular development naturally have 
bad degenerative eflecls. 

And now for two extremely important men- 
tal causes of old age. The first is mental strain, 
which Dr. Fisk says is just becoming thor- 
oughly understood. While some of the causes 
leading to a disturbed mental state may lie in 
physical deficiencies, it is nevertheless pathet- 
ically true that an overwrought brain may 
react upon an otherwise healthy body and 
cause old age. Fear, grief, and emotional ex- 
cesses are more destructive than mental effort 
or mental work. 

THE opposite psychic condition is Menial 
Apathy. Andhereitisaplainlack of interest 
in hfe that causes physical apathy and its 
attendant evils. 

Perhaps all this sounds too scientific for the 
layman; nevertheless, it is simple condensation 
of an intricate subject. And it is extremely 
pertinent to this problem of looking and feeling 
young. Vou cannot, for instance, have the 
fresh, clear skin of youth if you are poisoning 
yourself with a hea\y, badly chosen diet. Nor 
can you have bright, attracti^'e eyes if you 
spend sleepless nights over foolish worries. 

There are, as you can see, two aspects to this 
problem of staying young. The first is the 
physical side. The second is the mental side. 
And both aspects may be summed up in the old 
Roman precept: "A sound mind in a sound 
body." 

Now there is no greater bore in the world 
than the person whose mind is constantly on 
the state of his health; no more tiresome woman 
than the one who is incessantly searching for 
symptoms. The individual who tries to be his 
own doctor, usually overestimates the impor- 
tance of his own ailments and makes a great 
botch of the whole business. 

The easiest and the sanest thing to do is to 
have regular physical examinations. Let an 
expert find out your weakest points — for none 
of us is loo per cent perfect — and let him give 
jou a rule for personal hygiene. 

And when you leave the doctor's office, fol- 



low his advice. But keep your mind off your 
bodily state. When you eat, taste your food 
and enjoy it; don't accept it as just so many 
vilamincs and calories. Fresh salads, properly 
prepared, are things of beauty anrl works of 
art; the fact that they are also excellent for the 
body is a gift from nature. Look at your food 
in that light and you'll enjoy it — diet or no diet. 

Don't be continually dosing yourself with 
medicines you may not need or with jjrepara- 
tions of doubtful value. It's a sad medical fact 
that the diseases we take the most pills to cure 
are seldom the dangerous ones. It's the dis- 
eases we neglect, the diseases we fail to dis- 
cover, that cause all the trouble. In other 
words, as an amateur medical exjiert, the 
average person is apt to be pretty much of a 
flop. 

However, there is one thing you can do to- 
wards holding your )outh that no doctor can 
accomplish for you. You can cultivate a 
cheerful, youthful habit of mind. Your brain is 
ageless. You may be young at ninety, if you 
wisli. Or you may be, like W. S. Gilbert's 
"Precocious Baby," "an enfeebled old dotard 
at five." 

"N/^OUR brain controls your body to an amaz- 
-*■ ing extent. Scienceisjust beginninglotrace 
the effects of this enormous influence. I asked 
Dr. Fisk what mental habit had the most 
ageing result on women. And, without hesila- 
tion, he told me that introversion is the men- 
tal state that causes the most havoc. 

Although you may not recognize the quality 
under its psychological definition, it is a type 
that you all kno^v. The introvert is a woman 
who makes herself the center of the universe. 
She is the woman whose mind is a churn of 
petty and personal worries. She is usually 
without any outside interests, except those 
that immediately concern her. She broods over 
trilles. She imagines insults, slights and perse- 
cutions. In brief, she has what is usually 
described as an "ingrowing disposition." 

Dr. Fisk believes that professional women 
seldom acquire this habit. In fact, they are in- 
cHned to go to the opposite extreme and be 
absolutely dependent on some sort of exterior 
stimulus. Nevertheless, the sad fact remains 
that unnecessary' worr}', imaginary troubles 
and morbid thought bring more wrinkles and 




In honor of Carl Laemmle, the employees of Universal donated this 

room to the Los Angeles Orthopedic Hospital. Mr. Laemmle paid 

a visit to the first occupant of the room — little Kenneth Stuart — 

and made him happy by the gift of a radio set 



Every adveilispnifnt in mOTOPLAY MAGAZISB I3 guaranteed. 



Photoplay Magazine — Advertising Section 



117 



lack-lustre eyes than all the hard work, mental 
effort and physical activity in the world. It is 
not a pretty thought — and it sounds like the 
theme of a modern novel — but it is true that a 
large number of women are aged and poisoned 
merely by their own morbid thoughts. 

In this first article, it is only possible to give 
a general survey of this engrossing problem of 
keeping young. Other aspects of the case, 
such as personal hygiene — with the care of the 
skin, hair and eyes — and proper costuming will 
be dealt with, in detail, in succeeding articles. 
In this article, there is only space to give you 
the causes of old age and to emphasize the two 
cardinal principles of youth: Keep your body 
free from disease and keep your mind young. 

But in order to impress upon you that this 
dream of youth is neither impossible nor vain, 
it might be well to give you a few well-Vno^\n 
models who may serve as patterns for the aver- 
age woman. As Dr. Fisk points out, the actress 
who goes on with her work year after year, 
gaining in charm rather than losing it, accjuir- 
ing new beauty instead of fading, is a healthy 
ideal for the woman who wants to keep her own 
youth. 

SO. by way of parting advice, let us study 
some of the so-called "beauty secrets" 
of the women of the mo\ies who, in spite of 
hard work and worries unknown to the average 
woman, have managed to remain the ver>' 
spirit of youth. 

Jlary Pickford. for instance, is thirty-three 
years old. She has worked far harder than the 
ordinary girl. Mary's career began when she 
was a child. She has been an active wage- 
earner for the greater part of her life. And yet, 
today, Mary looks ten years younger than she 
really is — off the screen. On the screen, she is 
still a convincing child. 

Mary's recipe for youth is very simple. 
"Think young," she says, "and you will be 
young. You can't be old when you are sur- 
rounded by optimists who don't worr\' about 
age. And I insist that my friends be optimists. 
After that I forget myself. 

"I never have to worry about my weight. 
I eat what I please and never weigh over 
ninety-eight pounds. I suppose the hard work 
that making my pictures necessitates keeps me 
slender. At least, I never have had a system- 
atic routine of exercise. I like to swim and 
recently I have taken up golf, but I do them 
both for the fun of it rather than for any physi- 
cal benefit." 

Another actress who has kept the very spirit 
of youth is Alice Joyce. Off the screen, she 
presents a serene, unlined face to the world. 
She is one of the most charming women in New 
Vork. And yet Miss Joyce is thirty-six years 
old and she has been in the mo\ies for over 
lifteen years. Furthermore, before that, she 
was an artists' model. Don't forget, either, 
that she has a daughter ten 3'ears old. 

Miss Joyce keeps young by keeping busy. 
When she isn't actively engaged in picture 
making, she is taking lessons in something, 
just for the fun of having her mind occupied. 
In her spare time she studies ever\'thing from 
French to domestic science. She likes to keep 
her interests varied. 

Moreover, Miss Joyce believes in regular 
hours. She doesn't care for night clubs and 
she makes a point of resting at home several 
nights a week. In her career on the screen, she 
has seen many girls "party" themselves out of 
pictures. She doesn't believe that all the rest 
cures and diets in the world can make up for a 
lling of unbalanced living. 

Elinor Glyn has been in the limelight for 
more years than it would be polite to mention. 
And yet Madame Glyn is the leader of Holly- 
wood's "younger set." The lady may be a 
grandmother and yet she has more energy, 
more pep than almost any flapper in Holly- 
wood. 

And so Madame Glyn's advice is worth hear- 
ing: "There is no such thing as old age. Not 
if you pay attention to three important things. 
The first is your mental attitude. Don't think 
age and you will not be old. The second is to 




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Photoplay Magazine — Ad\-ertisino Section 



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They Laughed When I Sat Down At 
the Piano But When I 
Started to Play!-- 



"Can he really play?" I heard a girl whisper 
to Arthur, as I sat down at the piano. 

"Heavens, no," Arthur exclaimed. "He never 
played a note in all his life." 

Then I gave them the surprise of their lives. 
I started to play. Instantly a tense silence fell 
on the fiuesls. I played the first few bars of Liszt's 
immortal Liebestraume. I heard gasps of amaze- 
ment. My friends sat breathless — spellbound! I 
played on. 

A Complete Triumph! 

As the last notes of the Liebestraume died 
away, the room resounded with a. sudden roar 
of applause. Everybody was plving me with 
questions— "Jack ! ^ATiy didn't vou tell lis you 
could play like that?" .... "Where did you 
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"It seems just a short while ago since I 
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I sent for the Free Demonstration Lesson and 
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You, 



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Piaoo -Cello 
Organ Ukulele 
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nerer did haye any 
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have knowledge of eliminations. Eat spar- 
ingly, but vyell, and keep your body free from 
\vastes. The third is perfect attention to cir- 
culation. Exercise — I am very fond of dancing 
— is excellent. 

"I eat plenty of fruit and drink much water 
between meals. For breakfast I have two bits 
of toast and some peach jam, a cup of coffee, 
without sugar or cream, which I immediately 
follow with a cup of unsweetened tea. In sum- 
mer, I varA' the peach jam with fresh water- 
cress, a plate of strawberries or half a grape- 
fruit. For luncheon there is a fish, just caught, 
and a boiled potato. And then a pineapple ice. 
For dinner I have a souffle. 

".\nother thought. Do not smoke or drink, 
and watch out for the frornis. They leave 
lines that pull down the mouth. For my skin, 
I use honey and peroxide, half and half, per- 
fumed by rosewater. It leaves the skin soft 
and white. 

"And there is the psychic influence. The 
force currents which cleanse and purify flow 
from the north. I always sleep with my head 
to the north and am nightly revivified by the 
rays. To sleep with the feet to the north, 
causes stagnation and a sloughing of impurities 
to the head." 

Fannie \\ard, Elinor Glyn's rival m youth 
and pep, has an elaborate system of keepmg' 
young. But, of course, Fannie has had her 
face lifted and surgical operations are not yet' 
within the reach of the everj-day woman.! 
Nevertheless, there is something deeper than; 
superficial beauty in Faimie's youth. 

Fannie doesn't smoke. When she is in Paris, ' 
she drinks sparingly of champagne. The 
"hard stuff" is not to her liking. She keeps 
hours that would kill Gene Tunney inside of a 
year. Dawn is bed-time to Fannie. And yet, 
mentally, Fannie is neither cj-nical nor world- 
wear>'. She, too, places extreme importance on 
youthful mental qualities. The basis of her 
ph.vsical regime are elaborate facial treatments 
and colonic irrigations. 

Hard work has nothing to do with growing 
lid. All the young women of the stage and 
screen have had abnormally active lives. 
When .Anna Q. Nilsson was a child in Sweden, 
she worked lite a man in the fields. She has 
been in picttires since ipii. 

"LJERE is Miss NUsson's advice: "The best 
■*• -'•beauty hint I know is not to worry. Don't 
hold grudges. Don't sulk. Don''t brood. 
Temper and worrj- and doubt are little de\'ils 
that etch bitter lips and sullen eyes. Of course, 
we can't all be even-tempered. I'm not wish- 
ing that on anyone. Even on myself. When 
I get angrj-, I get angry. Everj'one hears 



f^l 




Every advertisement hi pnoTOPLAT MAGAZINE la euaranteed. 



Victor Fleming is using a radio 
to broadcast his orders to a crowd 
of 2,000 extras used in "The Rough 
Riders. ' ' Receiving sets are placed 
on the settings to transmit the 
instructions to the players 



Photoplay Magazine — Advertising Section 



119 



about it. But it lasts only a minute. I ex- 
plode, absolutely. 1 get it out of my system 
and it is gone. 

"I violate all rules for keeping thin. My 
favorite exercise is reading. Give nic a good 
book, a comfortable arm chair and a lamp and 
ril sit up until four o'clock in the morning. 
Dinner guests gone after a long chat, I'll pick 
up a book and read until dawn. 

"I am naturally fond of swimming, horse- 
back riding and walking, and do them all, 
spasmodically. But I have no set schedule. 

'■ I am careful of my diet. I avoid too many 
starches and sugars, not to save poundage, but 
merely for the sake of common sense." 

Mae Murray's rule of li\ing is more rigid. 
Mae watches herself \er\-, very carefully. She 
is the "early to bed. early to rise " girl of Holly- 
wood. And yet dancing, more than any other 
one thing, has kept Mae young. Dancing and 
a vegetarian diet, with plenty of milk. You 
may think that Mae's "no smile, no frown" 
rule has made her face a trille expressionless, 
but don't forget that Mae was a star performer 
in Ziegfeld's Follies of 1908. 

Blanche Sweet has an excellent and practical 
code of li\ing. Not only is Blanche young, but 
she has grown younger in the last few years. 
Blanche has been in pictures for more than 
tifteen years. Like Mar>- Pickford, she \\as on 
the stage before the studios e\er saw her. 
Nobody ever accused Blanche of having an 
easy life. -\t one time, in fact, Blanche was 
almost overcome with the tragedy of living. 
It was then that Blanche began to look old. 

But there was a fighting spirit about Blanche 
and she triumphed gloriously over her imag- 
inary woes. And once she had shaken the blue 
devil of the blues, she not only gained her former 
beauty but she acquired a new lo\eliness. 

I think that most women will find real help 
in Blanche's rules for keeping her beauty. 
"In this thing of keeping fit. I give particular 
attention to my foods," Miss Sweet says. 
■■ Improper diet causes more mental and physi- 
cal ills than can be imagined. I never eat 
bread and meat at one meal. They are too 
heavy. Xor do I drink water as I eat. It 
makes food soggy. However, I drink a great 
deal of water between meals. The first thing 
in the morning I have two eight-ounce glasses 
of water. Before luncheon and dinner, I have the 
same quantity, and still more between meals. 

'•"KyfILK is the best natural food there is. so 
■'■viniy breakfast is composed of two eight- 
ounce glasses of hot milk. At 10:30! ha\'eaglass 
of cold milk, also at4and4:3ointheafternoon. 
And often I ha\e a glass of hot milk before 
retiring. Salads for luncheon and one meat 
with vegetables and a baked potato at night 
when I am at work. 

"Eating is not all in keeping fit. There is 
exercise. I combine exercise with recreation. 
To me dancing is the perfect pastime. Ger- 
trude Hoffman, when I was dancing on the 
stage, taught me that. I love modern dancing. 
In my bedroom I have a phonograph to which 
I dance 'the Black Bottom,' the fandango, 
anything — just so it's dancing. 

"Ice-skating at the rink or Lake Arrowhead. 
Swimming, the year 'round. Plenty of water, 
inside and out. That's the best way I know to 
keep fit." 

STAY MENTALLY YOUNG 
The mind plays a tremendously 
important part in the problem of 
How to Hold Your Youth. For 
the second article of PHOTOPLAY'S 
series on this vitally interesting 
question, Miss Smith will inter- 
view one of the foremost pyschol- 
ogists in the country. This ar- 
ticle will tell you just what mental 
habits to avoid and just what 
processes of thought to cultivate 
in order to avoid unnecessary old 
age. Watch for this article in the 
March issue of PHOTOPLAY. 




What COLOK doyoufeel today? 

(a curious question) 



CURIOUS? Yes. . . . Silly? Not in 
the least. Mysterious perhaps, but 
we do "feel" different colors. When 
sad, we feel "blue"; when happy, we feel 
rosy, glowing, bright. All true, isn't it? 
But — and here is the startling thought — 
how do we look? We are judged by that! At 
golf, for instance? Cheeks too pale, cos- 
tume neutral, the impression is depression. 
If in reality your mood is gay, the gayety 
seems forced. You do not look the part. 
Or, again, if you feel deliciously tranquil, 
how sadly at variance with your true mood 
are too bright and robust colors. Your 
whole day may be spoiled simply because 
you do not look the color yon feel. 
So we come, convincingly, to the reason 
for the Tiew mode which is rapidly changing 
the rouge preferments of America's clev- 
erest women. It is the most exciting vogue 
in years — us\ngrougG.to express one' s moods. 
Princess Pat developed this fascinating 
X\\^\n^o{ mood expression — by delving deep 
into the mysteries of color psychology. But 
you can experience all the results without 
troubling about scientific explanations. 
Try it. Suppose you feel that uplifting in- 
ner urge toward gayety. You feel brilliant, 
vital, alive, eager. You want desperately 
to have that mood register, to evoke quick, 
understanding response in others. Then 
look the part. Use Princess Pat Rouge Vivid 
— or the newest shade, Squaw. Watch the 
mirror. See how the wonderful new color 
note is instantly achieved. It is so "just 
right" that you get a complete new thrill 
from your own reflection in the glass. But 
X\\Qpomtist\\3.tyo\\'\\ thrill beholders as ivell. 
And the soft, delicate effect of Princess Pat 
Medium! Ah, that is for the hour and 
occasion when dreams mist o'er realities 
and "beckon romance softly." It is the 
shade that gives the rich, warm creams 
and pinks of a "peaches and cream" com- 
plexion. Its color note is serenity, cool, soft 



serenity, like moonlight silvering a breath- 
less lake on a still June night. And as a 
complement to Medium, there is No. IS 
Theatre, for a little added wealth of color. 
For those fuller, glowing moments when 
rich, natural color is your desire, use 
Princess Pat English Tint, the famous 
orange shade more imitated than any other 
rouge in the world — but never success- 
fully. English Tint changes on your skin, 
blending of its own accord to the exact 
color note required by your own com- 
plexion tone at its natural best. 
And of course the marN'elous new shade, 
Nite — which meets every exaction of 
artificial lights — never changing — never 
varying in color once you put it on. 
Think, Milady. You choose your frocks 
with vast care so that they may express 
you. Your choice of rouge Is eve7i more im- 
portant. For a brilliant costume with a 
neutral rouge is terribly discordant. Simi- 
larly, a soft, pastel gown with a brilliant 
rouge is disharmony. You invest heavily in 
gowns — why not make the investment 
yield fullest beauty? 

It costs no more to have the six wonderful 
shades of Princess Pat on your dressing 
table — because you use them but one at a 
time, and, of course they last six times as 
long as one. So follow 
this new vogue. You 
can readily imagine its 
fascination; but actual 
results will far tran- 
scend anything you can 
conceive. 




Ti 



RINCESS iAT 



PRINCESS PAT LTD. CHICAGO, U. S. A. 



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Photoplay Magazine — Adn-ertising Sectiox 




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Up Speaks a Gallant 

L05.T 




[ COXTIXfED FRONi \GE S3 I 

"You know," continued M. ilbert. "she 
has had a remarkable ston-. Sht i_ 'he daugh- 
ter of humble parents and her eU'-V life m 
Sweden was spent in a poor home. linally she 
went to dramatic school. One day JMauritz 
Stiller cai le to the school to select a girl for his 
new picture. Stiller was a kind of god over in 
Sweden — iheir most successful director. .\nd 
he chose Greta. 

''("^RETA made a big hit in Sweden, right 

^^Jfrom the start. When Stiller was signed 
up for American pictures, the agent wl ^ con- 
ducted the deal included Gretainthec.Lract. 
Because Greta and Stiller had been associated 
together in so many successes. 

"Her salary was — and still is — rather small. 
The company wasn't ver>' eager to take her. 
No one knew what 3 success she would have. 
Greta herself never expected it. And now, 
poor girl, she is comp'.. '.dy bewildered. 

*"She isn't high-hat. 

"She isn't conccite-.'. 

"She isn't upstage. 

"She is just plain dumbfounded. 

"I don't think that we realize what .\merica 
means to foreigners. \Vhen these people come 
to America, their parents and friends mourn 
them as lost. Thoy know that they are gone — 
never to return. America swallows them up. 
It submerges them as failures. Or it over- 
whelms them with success. Little Yon Yonson 
leaves his home toVome to America. In a few 
years, he is J. Ashburton Johnstone, owner of 
the biggest grain elevator in Minnesota. But 
little Yon is dead and buried. 

"And that's what has happened to Greta. 
The poor little obscure Swedish girl is now the 
talk of Hollywood, one of the biggest discov- 
eries on the screen. Greta isn't superficial 
enough to accept it quickly. She can't begin to 
comprehend. 

"No wonder she stands before the ocean and 
just thinks! 

"What does she want to do? I know — bet- 
ter than she does, I suppose. She wants to 
work with jMauritz Stiller. After all. he was 
her first friend and her first god. Stiller dis- 
covered her; he taught her to act. And he 
understands her; knows what she 
against. 

"She can be happy with Stiller. 

"I don't think I was ever StiUer's real rival, 
with Greta. And, by the way, he's a fine 
director and he's going to do some big things." 
So spoke a gallant loser! 
Surely Greta Garbo is the luckiest actress in 
pictures to find, in her rejected suitor, her 
most ardent press agent. 



up 



Adonis of the Argentine 




A Sure Way To 

End Dandruff 

There is one sure wny thnt never f;iJIs to 
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to dissoh'e it. Then you destroy it en- 
tirely. To do this, ju.'^t apply alittle Liquid 
Arvon at night before retiring; use enough 
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■R-ith the finger tips. 

By morning, most, if not all, of your 
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more applications will completely dissolve 
an:l entirely destroy- every single sign and 
trace of it, no matter how much dandruff 
you may have. 

You will find, too. that all itchiriK of the scalp 
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You can get Liquid Arvon at any dnic Etore, 
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This EiDiple remedy hae never 
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kLiOUIDAliyQN ^ 




STOP Skin 

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[ CONTINUED FROM PACE 67 ] 

Bam- paused. A ven' silent pause into 
which he blew cigarette smoke. 

"I smoke these — " with a wave of the hand, 
"because ihey are the first ones I saw adver- 
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The rest of the cigarette makers are out of 
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There was more pause, and then Barrj' spoke. 
He speaks EngUsh almost llawlessl>', with not 
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did he say "which" when I thought it should 
have been "who," but far be it from me to cor- 
rect a young man who speaks casually of the 
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I 21 



Brazil and knowingl}' of the habits of the Inca 
Indians who terrace-gardened the Andes to 
grow vegetables. He's not pedantic. He 
doesn't slap down factsand leave you gasping. 
He has learned things by contact. And 
slowly, if you are interested, he reveals 
them. 

"I came north two years ago with a dozen 
boys which were given six months' leave of ab- 
sence before they commenced their diplomatii. 
training in Buenos Aires. We came on some 
sort of a fencing contest, and to see the Dcmp- 
sey-Firpo tight. One of the boys died in Chi- 
cago and I went from New York to make 
arrangements. I had been living in Greenwich 
village" — and still they cast him as "the 
mother's boy" — "after the leave of absence 
expired, and when I reached Chicago my 
father wrote he would send no more money if I 
did not immediately come home." 

The firm chin is not for nothing. 

"There was a letter of introduction to a 
friend in Chicago — I ha\e no relatives in this 
country — and I presented it. The man was 
very charming. We talked. As I have said, 1 
spoke English, but I did not s[)eak American 
slang. I said something the man could not be- 
lieve. He looked at me and laughed and said, 
'Oh, get out!' 

" I picked up my hat and walked toward the 
door. ' Hey! Where are you going? ' ' Pardon 
me, sir,' I answered, 'you told me to get out. 
I am leaving.'" 

•T^HERE was another pause. The boy has an 
■■- effective way with pauses. He meditates be- 
hind that little wall which surrounds him. He 
has an air of unstudied insolence. He looked 
like a picture of the Young Dauphin as the late 
afternoon sun slanted through the window. 
There is good breeding in the long line of his 
fingers, in the set of the head upon his shoul- 
ders. 

"I cannot be witty in English. I do not 
know it well enough. French, that is a great 
language to be witty in. You can insult a man 
so beautifully — and he does not know what you 
are naming him — " A curious dark-eyed 
smile, the first, crossed his face. He has a lot of 
charm. 

" Nine months ago I came to Los Angeles. I 
sold many of my personal things in Chicago to 
get money to come here. I tried to find office 
work, but there was none." 

I could see Barr>', then Alfredo de Biraben, 
asking for w-ork. Slim and arrogant, with an 
arrogance born of breeding, not adversity, ask- 
ing to wrap parcels, lick stamps. 

"In the Argentine w^e do not accept actors 
socially. Never. Doctors and diplomats, yes. 
M}'' brother — there are only two of us — is a 
surgeon. I was to be a diplomat. But I did 
not want to be. I wanted to be a sculptor or an 
artist ... or an actor. 

"In the Argentine they loved Wallace Reid. 
Even better than Valentino. They ha\e a 
gong in Buenos Aires which they sound only on 
ver>'' important occasions. I have heard it 
twice. WTien war was declared and when 
Wallace Reid died. 

"Well, I tried to get extra work, and failed. 
One day I had been to the casting office at 
Fox, and they had said ' No work today,' when 
a man stopped me, 'Do you want a test?' he 
asked. I thought he was one of the extra men 
who was kidding me. 'I want something 
around here,' I answered. 'Come tomorrow at 
nine for a test.' " 

The man was Irving Cummings. Barr\- got 
a five-year contract with Fox Films. 

That was his story. Simply told. But still 
there was something. There was a heart that 
hadn't been found. There was sentiment. 
There was romance. There was not the great 
spirit in the telling of the story that I saw in 
the staccato gesture of the shell-ripped boy in 
"What Price Glor\'." There was warmth and 
fear and stark desolation in that cr}^ "Stop the 
blood!" This was a suave twenty-two-year- 
old with saloti manners. 

"The tall waving grass on the pampas. . . ." 
I ventured. 





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122 



Photoplay Magazine — Advertising Section 




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The boy's eyes lighted. Throujih the golden 
California dusk they were ver>' bright. 

AH no ! Xo. there is no grass on the pam- 
pas. The country is arid, the ground is 
baked hard, and there arc deep tracks in it. You 
know? Xo cactus, no vegetation such as you 
:,avehere. We have great trees. They're . . . 
liy they're as big around as this room. No 
one has seen them grow, as far back as we can 
karn. They've been there alwa>s. Oumbu, 
we call them. We ride into the light on la 
pampas, always making detours because of the 
oumbu. They are surrounded with lights so 
that you may not ride into them. 

"Those night rides on la pampas. My father 
and I, many times, have ridden hour after hour. 
The wind, it whistles through oumbu like this" 
— it was Alfredo, not Barry, who was leaning 
out of his chair, his hand coursing through the 
air in the fashion of the wind, his mouth pursed 
with wind sounds. "Um-um-um-um-um-um. 

"And little lights suddenly growing bigger as 
you sweep across la pampas. Far away you 
hear guitars. Little native songs tinkling in 
the darkness. Our gauclios, well — they are 
not like your cowboys. They are more, more — 
slavish. They tend the flocks but if the — what 
you call ' boss' — scolds them, they do not quit, 
as your cowboys do. 

"Four or five gauclios will sing and play 
guitars. Songs of their own composition. 
They have different sounds to represent differ- 
ent things. Their songs are like — well ... do 
you know Edgar Allan Poe?" This is a kid of 
twenty-two talking. "The songs are like his 
poems. There is that swinging repetition. 

"And the}" are fighters, those (^aui/ws! My 
father, one night, was dri\ing across la pampas 
and, coming to a great oumbu, he saw two men 
descending. They were wrapping their pou- 
chos — you know? rolled blankets which en- 
circle the body from shoulder to hip — thej' 
were wrapping them around their left arms, 
which means a fight. They fight with knives, 



the gauc/ws. Fearless, desperate fighters. 
These two commenced. One jabbed at the 
left arm of the other. Even the poncho could 
not protect it. Ah, those knives! They use 
them like part of the hand. Like lightning, 
they flash. 

" Finally the man fell to the ground, his left 
arm dripping blood. My father tells it — " an 
e.xciting smile gleamed. "The other one made 
a lunge with his knife to the abdomen. He 
ripped a huge gash and the man ... do you 
mind? . . . the man was — was — " 

' ' Disemboweled ? ' ' 

*'E.\actly. But even then he was fighting. 
He tried to pick himself up. How my father 
tells it! He struggled with this gaping wound, 
and then my father drew his revolver and shot 
him through the head. But those are the 
gauclios. It is like a gauclio to die that 
way. 

"In Buenos Aires" — it sounded like a song, 
the way he pronounced it — "we do not have 
things like that. We are a big city. People 
laughed at 'The Four Horsemen' when it was 
shown in the Argentine. Imagine cafes in a big 
city like Buenos Aires as the one showed in the 
picture! And the women wrapped in shawls! 
Our women get their clothes from Paris, as 
yours do. 

"You see, it is so different in this country. 
It is so standardized. I go through Ohio or 
Kansas or X'^ew Mexico and the people are all 
the same. 

" A XD Brazil. Our family lived there, too, 
-**'for several years. There is Sugarloaf 
Mountain, and the bay. Great red and blue 
cliffs . . . can you imagine? and when the 
sun sets ..." 

The sensitive nostrils of Alfredo de Biraben 
dilated, the mouth was soft with brilliant recol- 
lections. 

He may be Barry Xorton to Hollywood, but 
always his heart and soul will be Alfredo de 
Biraben of the Argentine. 



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[ CONTINUED FROM PAGE 70 1 

as if we had been talking for some time. And 
we had. "Look at that 'he-vamp' title. He 
curses the day it was born. He'll never forgive 
Photoplay for that. Look at Mary Miles 
Minter, 'the sweet little gaga girl of the 
screen'." 

Yes. and look at Gloria Swanson, who had to 
do "Manhandled" to kick her title of "clothes 
horse" into the discard. Look at Lois Wilson, 
who is doing her best to li\T down that reputa- 
tion of "the good girl of Hollywood." 

Nasty, nefarious, innocent-soundings little 
phrases that cling like leeches. Light as bub- 
bles they bound from some fast-moving type- 
writer. And the ha\'oc they play is nobody's 
business. 

"It started at Lasky's," said Conrad, smiling 
in that dispassionate Nagel way. Nothing 
personal, but very winning, that smile. 
Friendly, but not too intimate. Not like Gil- 
bert's vitalizing smile, or Colman's slow enfold- 
ing smile. 

'*It started at Lasky's when someone wrote a 
stor>' about me. They said I was a deacon of a 
church, that I led the choir, that I taught Sun- 
day school, that I was an usher and went to 
three services a day. They said on days when I 
was not working in a picture I visited the 
studios, saving souls. I was the boy evangelist 
of Hollywood. Not only that, they said my 
wife did all her own housework and that we did 
not believe in keeping servants. Furthermore, 
a common Sunday afternoon sight was to see 
me pushing my baby, Ruth Margaret, down 
Hollywood Boulevard in her perambulator 
with my wife hanging on one arm. 

" Shortly after the story was printed, a writer 
came to the studio and requested, pointedly, 
that they let her interview anybody but Con- 
rad Xagel. 

"Tourists returning from Hollywood used to 
say they had seen Universal City, the Selig Zoo 
and Conrad Nagel ushering at church. 

"Then they included Mrs. Nagel in the 
stories. We'd have joint interviews over tea on 
the veranda, and it was ' the model young mar- 
ried couple'." 

BUT his first picture, "Little Women." in 
iQiS, was enough to do that to a man. Those 
Alcott characters have always been too model 
for any use. 

".\nd all this time I was playing neglected 
husbands and unhappy lovers. If I didn't 
suffer in the beginning. I'd mourn at the end." 

Conrad's nearest approach to scandal ;\as 
when his brother, Ewing. was twice mistaken 
last year for the celebrated gunman, Marty 
Durkin, then at large. 

"I am very fond of ginger ale. I like to 
drink it with ice." Again that cool, collected, 
calm smile. " It looks just like a high-ball. At 
parties I'd be drinking my ginger ale and ice 
and a friend would wag his linger: 'Now, Con- 
rad! "The model young man of Hollywood" 
drinking high-baUs! What is this world com- 
ing to? ' 

"I did think of slaughtering my wife, club- 
bing . my daughter and taking on twenty 
mistresses. ..." 

Conrad was bom in Keokuk. Iowa, and that 
sort of thing doesn't go there, nor in Holly- 
wood, either, for that matter. Besides, he is 
too fond of his wife and child. I have it on 
good authority. "Conrad Nagel," the author- 
ity said, "is like Will Rogers. None of the 
wimmen could fool around him. Plenty of 'em 
tried when Will worked on the lot, but they 
didn't get any farther than they do with Con- 
rad. And that certainly ain't very far." 

Back to Conrad. "It's been better the last 
year and a half. I've been permitted a few 
light comedies. Occasionally I'd even step out 
on the httle screen wife, as I did in ' Dance 
Madness.' In 'The Exquisite Sinner' I walked 




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124 



Photoplay Magazine— Advertising Section 




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into the woods with Rcnee Adorec and nobody 
knew just what happened. In Mme. Glyn's 
'The Only Thing,' 1 had a mustache and sex 
appeal. It all helped to counteract 'the model 
young man' impression. But 1 was thinking 
today, couldn't something more be done 
about it?" 

Something should be done about it. Con- 
rad's too regular a fellow to be saddled with 
that tide. 

Being " the model young man of Hollywood 
is at first a novelty. Then a virtue. Finally a 
nuisance. "'V'ou wouldn't do that!" "You 
shouldn't do this!" "Your reputation . . • !" 
Each a little brick that builds a wall of right- 
eousness about a normal, healthy, moral, clean- 
living young chap who is entirely happy with 
his wife, his child, his house, his garden, his 
work, his music, his friends. 

.\ graduate of the Highland Park College of 
Des Moines. Stock company and vaudeville 
experience. The stage, playing in "The Nat- 
ural Law," "Experience," "The :Man Who 
Came Back," "Forever .After." An all-around 
athlete. K swimmer — he and Norma Shearer 
used no doubles in those aquatic scenes of 
'■ The Waning Sex." .\ tennis player, a golfer, 
a yachtsman. A churchman, of course, be- 
cause he believes. An usher, yes, because it 
is in serx-ice. Nothing priggish about that. 
But it equaled, in the eyes of the phrase 
writer, "a model young man." 

IT showed a lack of imagination on the part 
of the phrase writer. It did not reflect on 
Xagel. It was because he is monogamous and 
contented; God-fearing and at ease; abstemi- 
ous and satisfied. 

If he wants to be that way, it is his own busi- 
ness. But it is annoying, you w ill admit, to be 
placarded as too good to be human. 

" Will you pardon me a moment? " and Con- 
rad reached for the 'phone. His wife answered. 
"Hello, dear. Have you lunched? I'll be 
home, then, to lunch with you. And, by the 
way, dear, Sid Franklin and I may go to the 
game this afternoon. That is, if they are 
plaxing. .Ml right, dear. Yes, I'll be home 
shortly. Good-bye, dear." 

Conrad may rout that "model young man" 
phrase, but he will never cease to be "the 
model young husband." 

.\nd somehow it seems right that he 
shouldn't. 



The Shadow Stage 



BETTER THAN A MUSTARD PLASTER 



[ COXIIXI-ED FEOU PAGE 55 | 

FOR WIVES ONLY— Prod. Dist. Corp. 

THIS could be compressed into a two-reeler 
without harming its thought at all. Repeti- 
tion stalks throughout the entire piece. L<n(ri: 
is married to a famous doctor. She finds that 
he takes her "for granted" so she decides to 
teach him a lesson. He is called away on busi- 
ness and intrusts her to the protection of his 
three friends. From then on every scene is 
repeated three times, and if you're awake at 
the end of this you're a glutton for punishment. 

A REGULAR SCOUT— F. B. O. 

WELL, this is the one about the revengeful 
boy pretending to be the long lost son in 
order to steal the widow's money. Surprise, 
surprise — the widow is a darling with a pretty 
daughter, and how can you expect a really pure 
boy like Fred Thompson to stay mean in such 
an atmosphere, particularly with a noble horse 
like Silver King following him about? There is 
a troupe of real Boy Scouts in this and fair 
entertainment. 

THE BLONDE SAINT— First National 

OUR middle-aged heroes certainly are put- 
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Stone is a famous novelist who kidnaps the girl 
he loves. He takes her to "The Isle of Life." 



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Photoplay Magazine — Advertisixg Section 



125 



Here a plague breaks out, and through his un- 
tiring effort in helping the sick, she realizes she 
loves him. Ain't love grand, sister? The only 
good features in the picture are the splendid 
performances of Gilbert Roland and Ann Rork. 
Xothing to get excited about. 

THE CHEERFUL FRAUD—Universal 

AFTER you're out of the theater ten 
minutes you'll forget what it is all about. 
Reginald Denny, a Duke of Something or 
Other, accepts a position as secretar>- to social 
upstarts because he likes the girl. And there's 
some crooks who impersonate the Duke and 
steal the family jools. Mr. Denny recovers the 
jewels after a lot of silly running around. 
Even,'one tries to be funny, if that is any 
recommendation for a comedy. 

LONE HAND SAUNDERS— F. B. O. 

WHILE not quite up to the standard of the 
usual Fred Thomson Western, this incon- 
sequential stor)' will be termed "swell" by the 
children. Tom befriends an abandoned cripple 
boy. He clothes him in real cowboy regalia 
and sets him up in a little cottage filled with 
inventions a la Rube Goldberg st>'le. In due 
course Tom makes necessary' explanations of 
his past life and performs an operation that 
saves the child's life. Give the children a treat. 

STEPPING ALONG— First National 

•T^HIS is supposed to be a comedy. We're 
L telling you because you'd never recognize it 
as such. This picture ran for about an hour 
and a half, which is entirely too long for a 
Johnnie Hines comedy. When comedy situa- 
tions are overplayed they lose their comedy 
value and, too. there are a number of sequences 
here that are missing on all sixes when it comes 
to being funny. Even the wise-cracking titles 
that usually accompany a Hines product is 
missing here. When we saw this, the audience 
laughed once — so use your own good judgment. 

SWEET ROSIE O' GRADY— Columbia 

A ND still they come! If you can still sur- 
■**'vive this Irish- Jew theme why, the 
pleasure (?) is yours. Rosie O'Grady is a little 
tlower of the East Side who has a Jewish foster 
father and an Irish guardian. She meets a 
wealthy boy, but the difference in social stand- 
ings separate them. They are reunited. 
Shirley Alason and CuUen Landis are the 
lovers. 

THE CANYON OF LIGHT— Fox 

A LL ilix features are the same — trick riding 
■**-and shooting, hold-ups and fights galore. 
But in this Tom becomes the movie strong man 
and knocks down a couple of houses and comes 
up smiling. Yes, sir, all for the love of a girl. 
The youngsters will pass an O. K. on this. 

RED HOT LEATHER— Universal 

"CROjNI the title }'ou know Jack Hoxie does a 
■*• lot of riding. The mortgage on the ranch 
must be paid, so Jack enters a rodeo. A milHon 
and one incidents occur to pre^■ent him from 
winning the money, but just let anyone try to 
pre\ent our hero from saving the old home- 
stead, and pop. Fair. 

JOSSELYN*S WIFE— Tiffany 

pAULINE^ FREDERICK was an exceUent 
■*- selection in the leading role of "Josselyn's 
Wife," suggested by Kathleen Norris' popular 
novel of the same name. The story presents 
many opportunities for dramatic work, and 
had it been in less competent hands the picture 
would ha\'e been a total loss. A woman happily 
married, is confronted by her former lover, 
who seeks to rekindle their former love. He is 
murdered — but go to see the picture, it is 
worth while. 



Watch This Column 

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Laugh Month! 



Motion-picture 

theatre owners have named 
January "LAUGH MONTH" 
to send a regular gale of 
merriment sweeping over 
this great republic of ours 
— to stimulate jaded spir- 
its and give old and young 
a chance to "laugh their 
heads off." 

Universal has come 
to the front in comedies 
writh such tremendous 
strides this year that we 
are particularly proud of 
our contributions to Laugh 
Month. 




BUSTER BROWN AND HIS DOG "TIGE" 



For instance— "5usfer5rou;n, ' ' his dog "TIGE" 
and "LITTLE MARY JANE," created by Cartoonist R. F. 
Outcault. Our reproductions of these cute characters are well 
nigh perfect. 

" The Newly Weds," with "LOVEY" and "DOVEY" 
and the marvelous baby, "SNOOKUMS," created by Car- 
toonist George McManus. The antics of this clever child will evoke 
screams of laughter. 

"The Gumps," with "ANDY and MIN," created 
by Cartoonist Sidney Smith, and still very popular in the 
funny sections of the great newspapers. Be sure to see "ANDY" in 
the person of the chinless wonder, JOE MURPHY. 

"The Collegians," written by Carl Laemmle, 
Jr., and featuring GEORGE LEWIS, DOROTHY GULLI- 
VER and HAYDEN STEVENSON. These are comedies of college 
life with all the atmosphere of the campus, the gridiron and the 
track, as well as much youth and beauty. 

And as always, REGINALD DENNY, one of 

America's most popular high-class screen comedians, this 
time in "Take It From Me" and "The Cheerful Fraud. " Ex- 
ceptionally humorous feature productions. 

Write to me about these comedies when you 
see them. Tell me what you think of them. I enjoy hearing 
from you and always give your comments faithful consideration. 

,T 1, .■ A , .M C^^^ \aemmle 

(To be continued next month) ^^ V-* _, , 

Fresicl«nt 

Send 10c each for autographed photographs of George Lewis and Dorothy Gulliver 

UNIVERSAL PICTURES 

730 Fifth Ave New YorK City 



When you Mvite to aitvtTtlSLTS pUase mention PHOTOPLAY MAGAZINE. 



I 26 



Photoplay Magazine — Advertising Section 




IfYouWanttoWnte 
Ibr Publication 

Training for Newspaper Work 

Will Start You on an 
Interesting and Profitable Career 

DO you loiow that nearly all of our leading 
short-stor\' writers, novelists, maga- 
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fact that no matter what kind of tvriting you 
want to do — newspaper work is the surest 
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To begin as a cub reporter, however, 
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men who have learned from experience the 
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Please do not confuse this training with courses in 
journalism offered by colleges. The college courses 
are valuable, and they are administered by able men. 
But ours is not class-room work; you receive private 
instruction in your own home, adapted to fit your 
indi\idual talent- Moreover, instead of requiring 
four years of study, our course can be completed in 
less than one year. And the total cost of the N. /. A. 
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Your Natural Ability 
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Not everyone, of course, is qualified by nature to 
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Magazine Writing. This Is to place me under no ohllgatlnD 



Name. . 



{Please state whether Mr,, Miss or Mrs.) 



WISGS OF THE STORM— Fox 

E\'EX if you aren't an ardent admirer of dogs 
you will be strangely fascinated by Thunder, 
the newest canine star. It is an autobiography 
of a dog. -An undersized pup. Runt, is cowardly 
and finds life at the kennels unbearable. He 
runs away and meets a state forester, whom he 
adopts as his master. There is also htmian 
interest intenvoven, and finally Runl conquers 
cowardice and brings honor to himself and his 
family. Send the children. 

GOING CROOKED— Fox 

AX entertaining crook yam. for which we are 
thankful, because it has Bessie Love and. 
too. because crook stuff is our hobby. Bessie 
cut a cute little figure as the brains of a gang of 
thieves. She meets the handsome District 
Attorney, and decides to go straight. But the 
boss of the gang has other ideas and Bessie gets 
a pretty mean deal until the arrival of the 
D. A. See it! 

PROWLERSOFTHENIGHT— Universal 

P.\SS this up. It is just a Western that starts 
nowhere and arrives at the same place. 
Fred Himaes is the star. The same old storj' of 
the deputy sheriff breaking up a gang of 
bandits and sa\ing the girl, 

WHILE LONDON SLEEPS— 

Warner Bros. 

HERE'S hoping that Rin-Tin-Tin is one of 
your favorites. If you haven't seen him 
before, go see this picture immediately. Xot 
that the picture is in the gold medal class, but 
just to see Rinly, Xo other dog can come 
within leaps and bounds of him. His intelli- 
gence and acting are at times uncanny. Some 
of our would-be actors could learn a lot from 
Rinty's facial expressions. He certainly is a 
wow of a bow-wow. Please don't miss this. 

ROSE OF THE TENEMENTS— F. B. O. 

hen they 
filmed "The Big Parade." Ever>- com- 
pany feels they are not in line imless they have 
a war picture among their products. This is 
just a simple stor>- of the folks in the Ghetto, 
and it isn't half bad. About the boy who is 
influenced by a gang of radicals not to join the 
army. In due time he realizes his mistake and 
matters are adjusted in the proper way. 
Johnnie Harron and Shirley Mason are excel- 
lent in the leading roles. 



METRO started something 
- - - - 



OBEY THE LAW- 



-Columbia 

One has ; 



TWO jailbirds are pals. One has a sweet 
young thing of a daughter who knows 
nothing of Daddy's dirty past. Pop is de- 
tained on business in Ossining but arrives home 
in time to attend his daughter's engagement 
party to the wealthy Schuyler boy. It's one 
of those gorgeous society parties and the other 



pal just can't control those itchy fin^t^r- 
He's caught with the goods and off he goe;^ I'-r 
a few months' leisure at the city's expen-L 
An>'way the lovers are happy, so who cares. 

SJN CARGO— Tiffany 

npHTS is not as bad as the title would lead you 
■^ to believe. It concerns a brother who has 
squandered the entire legacy belonging to his 
sister and himself. He enters into a smuggling 
plot and the heroine and her sweetheart are 
made the goats. It carries a moral too — 
never go on a yachting party unless you bring 
your bathing suit. This little girl had to 
swim home. Xot for the juvenile minds, 

PALS IN PARADISE— Prod. Dist. Corp. 

A DRAGGY affair that takes a long time 
-* ^-getting started and never seems to end. 
There's a gold mine, a villain whom the heroine 
is going to many and the famous old dance 
hall where the hero rescues the gal. A \\'estem 
— how did you ever guess it I One of Peter 
B. K}Tie'?, if that means an\-thing to you. 
Xot a redeeming feature in the whole picture 
unless John Bowers and Marguerite de la 
Motte are saving graces in your estimation. 

THE SILENT LOVER— First National 

T_TO\V to make unpalatable movie hash: To , 
-'- -^ little dash of \'on Stroheim's conception . 
of a gay count's life add a generous amoimt of 
Foreign Legion atmosphere. For flavoring 
sprinkle with some villainous Arabs. After 
this concoction is mixed thoroughly add some 
a^^-ful comedy just for the fun of it. Result — 
"The Silent Lover." Of course there are still 
some fans who relish that virile hero, Mr. 
Milton Sills; but for those who have no interest 
in the gentleman in the case, this is not 
worthwhile. 

THE CALL OF THE WILDERNESS— 
Pathe 

TTIE handsome hero of this picture proves 
■*- the old adage that money isn't ever>'thing. 
AATien his wealthy dad casts him off and leaves 
him penniless, he is forced to shift for himself. 
With the aid of his dog and pal. Saudow, he 
does with such efficiency that in the last reel 
he has a new fortune, a Mrs. and a Junior. 

THE SILENT RIDER— Universal 

HOOT GIBSOX does some hard riding and 
some quick thinking in this picture. For 
there's a husky villain and a gang of confed- 
erates to be foiled. But Hoot manages to 
capture the outlaws and gets the girl. Xot 
an unusual Western, but a good one! 

THE TIMID TERROR— F, B. O. 

AX unsatisfactory- picture — badly acted and 
badly directed. The old storj- of the office 
dumbbell who proves to his employer he is 



Xote: Xo salesman wilt call 00 you (all correspondence 
held iQ strict conSdeoce). 



Service 



Letters like this reach our Shopping 
MAY WE HELP YOU, TOO? 

Photoplay Shopping Seirice, 
221 West S7th Street, 
New York City. 

I received my order of the 24th today and I can't express my appreciation 
of such a service! It is really a delightful way of ordering things and the 
articles are just as described. 

I certainly will recommend your shopping service to every one of my friends. 
I can assure you you will have more orders from me in the future. 

(Signed) E\TLYN NEWELL, 

Montclair, New Jersey 



Every adTcrtisemcnt in moTOPLAT MAG.VZIXE Is guaranteed. 



Photoplay Magazini; — Auxertising Section 



12' 



worthy of the position as general manager 
George O'Hara was quite at ease in the leading 
role, 
Too awful for words! 

CORPORAL KATE— Prod. Dist. Corp. 

WAR! War! War! This time from the 
viewpoint of the feminine entertainers 
at the front. War as presented by Paul 
Sloane, the director, is represented by a lot 
of shells bursting and people running around 
in circles with dirt all over their faces. \'cra 
Reynolds is such a glad-girl affair that she 
becomes irritating. Her attempts at comedy 
are pathetic. 

Save your money and go see "The Big 
Parade." 

SHORT SUBJECTS— Educational 

A PROGRAMME of one and two-reel 
novelties is far more interesting and en- 
joyable than some of the weak-sister features. 
Managers of theaters really should devote 
one night a month to the short subject 
products. For instance, tliis series is excellent 
and serves as a peppy evening's entertain- 
ment: 

"The Mona Lisa" which is based on iLeo- 
nardo da Vinci's world masterpiece, "^lona 
Lisa." It is in natural colors which have been 
done by the Technicolor Process. Any of the 
short features that are based on the famous 
painting can be classed as the classics of the 
screen. 

"Felix Busts A Bubble" — a cute Pat 
Sullivan cartoon. 

"Cool Off" — an Educational-Christie 
screamingly funny comedy. 

"Honululu Xights/' a Bruce scenic novelty 
which audiences always find are refreshing. 

No doubt most of these subjects will be 
released separately — any one of them is worth 
your time. 



A Million and One Nights 



[ CONTIXTJED FROM P.\GE Si ] 

in 1875 Muybridge was tried for murder and 
acquitted. The story is as colorful as any fic- 
tional yarn of the pioneer days. "A Million 
and One Nights" is studded with additional 
stories and facts, all of high interest to photo- 
play lovers. 

Mr. Ramsaye's storj- carries the whole his- 
tory of pictures. Here you will find the 
romance of the early Biograph days, from 
which emerged D. W. Griffith, the formation 
of the old \'itagraph, the famous trust war. the 
making of "The Birth of a Nation, " Charlie 
Chaplin's beginning, the part played by Mar\- 
Pickford. the formation of Famous Players 
with Adolph Zukor as its creator, the engage- 
ment of Will Hays and the final events right 
up to 1927. 

It is interesting here to quote the introduc- 
tion to Mr. Ramsaye's histor>% as noted in the 
Photoplay of April, 1922 : 

"It is a curiously woven fabric, iridescent 
with spectacular ruin and sparkling success. 
Great hopes have perished, small hopes have 
flowered. Wars have raged, peace has been 
made and new wars began. Giant chief? 
have risen for their hour of dominance, and 
vanished. 

"Honors and wealth have fallen alike on 
some who deser\'ed and many who were lucky. 
Out of the throng in the gold rush of the first 
decade of the films scarcely half a dozen names 
survive in the industry now. 

"Through and across it all the motion 
picture has pursued its destiny with the force 
of empire, greater than the men who con- 
ceived it. greater than the men who made it — 
as great as the people it ser\-es." 




Service All the Way 

^n Advertisement of 
the A7nerican Telephone and Telegraph Company 



It is impossible for a rail- 
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Scientific Facts 

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A CONDENSED book on diet entitled 
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Photoplay Magazine — AD\EinisiNG Section 



Losing 39 lbs. 

in 6 Weeks Was Easy 

Marjorie Craw-ford, 6704 Merrill Ave.. Cliit-aKO, 
"was good looking" even when she weighed 1S9 
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fair of form as of face. 

A miracle, no. but a complete transformation of an 
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ful as any woman could wish for. 

This great reduction of 39 pounds was accomplLshed 
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She has a figure any woman might en'\'->', wears 
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out of living. 

She gives Wallace and his music method full credit. 
"Your system is all I used, Mr. Wallace," she sa>-s in 
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No woman need carry a slncle pound of excess welRht If 
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Wallace's Free Offer 

For those who doubt and wish to test at home. Wallace 
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Wallace. 630 S. Wabash Ave., Chicago. III.. 631 

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More Sinned Against Than Sinning 

[ COXTIXL-ED FROM PACE 63 ] 



future films the charm she spilled around that 
room as she spilled off her wintry garments, 
their stock is due for a rise. Fur coat, sveaters, 
wool socks, tlat shoes, off. Chiffon hose, 
spindle heeled pumps, a slip of henna silk, 
very' short, ver>' tight, untrimmed, on. A 
brush going sharply over her shining black 
hair, and Lya curled up at the end of the blue 
hotel couch. 

"I am not so leetle," she interpreted my 
glance. "It is my head so leetle. I am — 
loook."' Her hands tapped sharply on the 
back of the couch. 
"Five three," I counted. 

LYA was delighted. "It iss so. You spik, 
maybe, Yerman, French or Hungarian?" 
She! concentrated on me. She wanted to be 
liked. She was determined to be liked. She 
was liked. 

"\'e talk joost the same," she said as I pro- 
claimed m}- linguistic ignorance. "My Eeeng- 
lesh is only eight months. Ven I coom here 
I know two vord — yes und no. I do not know 
vitch is vitch but I know them. Then I learn 
'gud morning' and 'gud bye' to be polite 
in studio. ' Gud morning' I say to all, coming 
in. very proud of myself to be in America. 
'Gud bye," I say going out, very onhappy I 
am so ter-rr-rible." Her r's rolled mournfully 
down the room. 

"Gud gods." Lya sighed "I am so ter-rr- 
rible." Her face became haggard. "I coom 
home and I cr\' from zez eyes down." She 
regarded me fiercely, struggling to get over 
the barrier of an unfamiliar language. 

"Zey say." she worked out. "I am vampeer. 
I am not a vampeer. Zez eyes," she indicated 
her tawny orbs, "zez are not vampeer eyes. 
Zey are sad eyes and vampeer eyes are not 
sad. but happy, for they get vat they vant. 
I argue, but they say, 'In'Variet}", you were 
vampeer.' Leesen." She whirled to her feet. 
"In 'Variety', I was leetle onintelligent girl. I 
know nozzing. I coom to vork for Yannings." 
J's all become Y's under her tongue. "Yan- 
nings iss beeg man. I play leetle onintelligent 
girl. IlufEheem. I do not spik. I know noz- 
zings, only luff. Yannings. he leaves %vife and 
baby. He take me away with heem. I vam- 
peer?" Lya was indignant. "I am vampeered, 
by Yannings." 



She rushed across the room. "Then coom 
other man," she continued, "beeg acrobat. 
He coom say to me, "Loook, ve haf contract 
for.\merica.' " Lya rolled out a great length of 
imaginar)- paper. "I am in room and I 
loook. \'ile I loook, he quick, quick, turn the 
key in the lock." She locked an imaginary- 
door with full gestures. "I am trapped, aj 
leetle onintelHgent girl. I vampeer? Xo, no,l 
I am vampeered." She sat down, plainly' con-| 
sidering the matter settled. 

"For two years Famous haf been saying, 
'Lya, coome,'"she said. If someday her smile 
gets on the screen, Lya's troubles will be over. 
"I do not come. Yannings he say, 've vait. 
you and me, Lya. Let the others go. Ve vait 
till ve are most important in Vermany of any- 
bodies.' That is goood idea so I do it. But 
Famous say, ' Lya, we haf good part in Amer- 
ica, big picture, tine dee-rector.' " 

Her eyes became tearfully eloquent. "I vud 
go anyvere for goood part" she said. "To this 
Holiyvood, Asia, any'^'ere. Always of myself 
I say, 'Xo, no, no.' ven I see myself on screen. 
Always no, no. Xevair I am satisfied. But 
goood part he call me anjn-ere. So I coom. 

"T GET here. I know no Eeenglesh so I can 
-*- not spik. I haf no friends. I am so lon-ly. 
Two veeks here, I haf appendicitis. From 
hospital I coom out two veeks and go to studio. 
My interpreter, she is nice girl but for actress 
nothing comes through here." Lya pointed 
to her forehead. She spread her pakns flat 
upon her chest. "It cooms through here. My 
interpreter is not actress. She can not trans- 
late e-mo-tions. Only vurds. But I try. They 
cut oflf my hair. Nevair I haf ver>' short hair. 
Thees line." she pulled back her bob to show 
the sharp hne of her jaw, "he iss very bad. 
But they cut my hair over my ears joost the 
same. It is not goood but I try. Two veeks I 
\*urk. I nevair see myself on screen. Xobodies 
says, but I know just the same. I am so lon-ly. 
I coom home and I cr>' from zez eyes, down 
and down. I say. 'Lya, for you ziz part is 
ziz.' " She dramatically cut off her own head. 
"Ze opening night of picture he coom. I 
haf never seen myself but I know. I borrow 
clothes from my maid. Funny old hat, funny 
shoes. I put hat. so. down tight o\er zez eyes 
and so I go to theater. I am curious to see 



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The Marquis de la Falaise takes his first screen test. Gloria's 

husband wants to be an actor and Gloria thinks that he has a flair 

for light comedy. So, who knows? — maybe this is the first official 

picture of another Adolphe Menjou 



Photoplay Magazine — Advebtising Section 



29 



first night. I vatch myself and I am ready for 
die. I try to run out and I meet one of you 
newspaper ladies. She say, '.\m I Lya de 
Putti?' I am ashamed. I say, no, and I go. 
Next day paper says, Lya de Putti highhat. 
Oh, I vas not. I vas only ashamed. I am so 
bad and so silly to be hiding in my maid'sclothes. 

"Zere is" she said, and her little face was 
mournful. " dee-fer-ence between vampeerand 
siren. Greta Garbo do siren in 'Temptress.' 
In ze end, she takes ring from finger and tears 
come down from her eyes. She is sad. That is 
very good. She is all a-lone. For Lya in picture 
there is always nice leetle American girl and 
Lya, she is ter-rr-rible. I do not believe the 
pooblics vill like the vampeer I play here. I 
am all so bad. My make-up is wrong for 
America. But I tr>' to learn. I try in 'God 
Gaff ^le Tventy Cents' and I am a leetle 
better, is it not? Even there, I amprcttybad," 
Lya said with awful honesty. "After I see it 
I go to Mr. Zukor, my good friend. I say 
'Lya is maybe not for America. Vou vant 
she should go back to Vermany?' Mr. Zukor 
he promise to giff me f.npathetic part with 
no nice leetle .\merican ,^rl in picture. Goood 
gods. I hope so he does. I aaff been so lon-ly. 
I could not spik. In Yemany it has always 
been ziz brain, but here it is somebodies elsese 
because I can not talk. But I vould go through 
an^-lhings if I only succeed in end." 

She looked so lost, so desolated I tried to 
divert her by asking her of her childhood. 

''ATY father is Baron de Putti," she said. 
iVi"]; vant to dance but my peoples say no. 
Lya says yes. They say no. Lya goes out." She 
was up, living through the whole scene for 
me. "Door behind Lya goes shut. Lya goes 
dancing. Then comes UFA studio. I vork 
there four and half >'ears. no \acation, no 
Lido, no Monte Carlo, no nozzing but vurk. 
While I do 'Variety' on vun set, I do Manon 
Lescaiit on another. Zen I take leetle vacation 
to Swiss — is it right — no, I know, Switzerland. 
In front of theater I see my name Lya de Putti. 
I am proud. I haff become a somebodies. I 
meet there my mother. ' Lya.' she say, holding 
out arms wide. 'Xo.' I say. 'six years the door 
has shut. It is not enough to hold out arms 
and say "Lya "after so long times.' Sovedonot 
spik again. 

"You see," said Lya, "I am ^villing to vurk 
for vhat I vant. I am happier now Yannings 
iss here. Yen he come — he is so beeg man, but 
inside he iss only leetle boy — he cr>% 'Lya,' and 
I fly to heem and for many minutes I stand 
close, joost a leetle black head against his beeg 
chest. It iss so good to see somebodies from 
Yermany." The tears sparkled in her eyes. 
She shook them off impatiently and tried to 
smile. 

"I vant to stay," she said. "America it 
learns you many theengs. Fat and youth. 
Zat is .\merica. Yen I coome here, I am so 
beeg." She outHned a plump barrel. "I go 
now by theater and I see my Manon Lcscaul 
and I am so ashamed of my fat. Here I diet 
and diet so that stomach he is so leetle I do not 
know heem. No more I get hungry. There is 
no stomach for food and that is good. I am 
thin like American. Und youth. Ever>'-bodies 
here she is youth. I go last night to see famous 
French star plaNing here. She is fine actress. 
She plays Du Barry. Dii Barry,'" — Lya drew 
her tiny figure up regally — " Du Barry, she iss 
so. She is ontelligent. Ziz actress she iss old. 
Her Dii Barry iss old voman. I see that now. 
In Europe I vould not haff see it. In America 
you see all Wth eyes of youth. 

"I am trvdng to get more American. I luff 
this New York of yours, so young, so beauti- 
fool. I am learning to spik. I do not \\sh. to be 
more vampeer. I vant to show pooblics real 
vomans, that I am a real actress." 

The tears of loneliness, of frustration, welled 
up in her eyes, and hung in jeweled drops from 
her long lashes. "I am hoping," she said. 

Thus Lya, the lorelei, more sinned against 
than sinning. If she is not a great actress, she 
had me beautifullv buffaloed. 



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130 



Photoplay Magazine — AD\EitTisiNG Section 




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The Truth About Breaking 
Into the Movies 



[ CONTINT'ED FROM P.\GE 4I ] 



complexion was capricious. "You're an ama- 
teur, ain't you? "she scorned. "I can tell Vm a 
mile off. and I must say it's terrible putting you 
in with professionals like myself. \Vhy, if you 
knew my career, on Broadway and everj'thing, 
you'd die of envy. Now I'll have to drag you 
through this scene." 

An electrician interrupted my apologies. 
"Say," he said to her, "Tully ilarshall 
wanted to know why you wasn't waiting on his 
table tonight. I told him we was giving you a 
chance at acting and he nearly died laughing." 

Heavy layers of gauze were pulled into posi- 
tion between us and the camera. The lights 
flamed forth. We rehearsed the scene. From 
doorways and shops shado\\'y figures emerged 
on the assistant's count. The ambitious wait- 
ress and I, very friendly now, linked arms and 
did our bit, down the street together. 

"All right. Lights," shouted Brabin, some- 
where back of the gauze. We went through our 
paces. 

The scene was shot three times, always with 
the same action. Then the lights died and we 
were told to wait. 

The moment had passed. Silence once more 
enfolded the set. The moon rode higher. It 
became very cold. At 1 2 130 a. m. the assistant 
got our names. "Check in your wardrobe. 
Get your pay. Those lacking transportation, 
can go in the bus in front of the studio. Every- 
body on the set, made-up, at nine tomorrow 
morning," he ordered. 

T did not reach Hollywood until one-thirty 
■■-that morning, but was up by seven, deter- 
mined to see this chance at e.\tra work through. 
It took me an hour to lix my face. I had to go 
without breakfast and run all the way to catch 
the S:io bus for Burbank. 

I dared not wink my sleepy, made-up eyes. 
A man, sitting in the bus seat with me, smiled 
sympathetically. 

"This is no life for any girl," he said, "nor 
for a man who's got dependents. But for men 
hke me, it keeps us out of jail. We're really 
polite bums. I don't belong to anybody, never 
did. I was born in a circus, and I've worked at 
everything. I drifted here four years ago. 
Being a beard" — he meant a bearded middle- 
aged male — "I belong to the only class of ex- 
tras of whom there's not too many. The cast- 
ing directors know me and I work more than 
most. I live well enough. It's better than 
panhandling and no more work." 

"How much do you make?" I asked. 
"Twenty-five dollars a week?" 

He laughed. "Don't kid yourself," he said. 
"There's not one extra in five thousand, male 
or female, makes that much. Sometimes I 
average twenty bucks a week, but mostly it's 
ten." 

Fancy movie salaries: Big money in Holly- 
wood! Ten dollars a week. Central Casting 
later told me that their best "dress" girls, 
society set workers, wearing their own expen- 
sive clothes, rarely average more than S40 a 
month. It has nothing to do with the workers. 
It rests upon the demand. That is more truth 
about breaking in. 

The set that morning was a theater where 
Colleen Moore as Twiuldctoes was to dance for 
her admiring public, which some sixty of us, 
looking like a series of misspent lives, consti- 
tuted. 

I wore the same costume I had been given 
the night before. 

The assistant director told us where to sit 
and coached us in our action. Whenever the 
lights were on. we were to smoke and to ap- 
plaud every act \'igorously. 

A dozen times they started. A dozen cigar- 

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cites wc each of us smoked, clapping our hands 
and being terribly, terribly visacious. A dozen 
times and another dozen, the action was 
stopped. There were many reasons. l"here 
was a back drop to be changed, though the 
stage was shown only in a long shot. Acts had 
to be re-staged. 

Joe Jackson, the clown, riding his bicycle, 
fell over a chain, downstage, and hurt himself. 
The chain was remo\ed, necessitating a re- 
take. -Vn extra, popular because he was known 
to be half-witted, was given a bit. Told to 
come forth singing, get the hook and be 
rira-^ged off in agony. It was too much for him. 
If he made his entrance correctly, he forgot to 
sing. 11 he sang, he forgot to agonize. Twice, 
during the shooting, the gilded hook broke 
beneath Jiis weight. 

Delays. Delays. 

Big-hearted, comic Polly Moran was there to 
do a dance. "Wait a minute." Polly called 
finally, "let me help him." On the stage, out 
of camera range, she coached the moron, ges- 
ture by gesture, while the cameras ground. 
"Good," called Director Brabin. 

"The poor devil," murmured Polly, as she 
descended. 

The electricians bay like hounds when they 
are hungry. "Lunch," shouted the assistant 
director. "Everybody back on the set in half 
an hour." 

If you do not watch your make-up every half 
hour, the natural oil of the skin gets in its work 
and your face emerges on the screen looking 
very like the valleys of the moon. Back on the 
set, I followed the other girls' examples, and 
propping my make-up case on my knees, pat- 
ted andpatted my face with powder, regretting 
that my nose was so intellectually oily. 

A bunch of ballet girls came in, pretty sweet 
sixteens. clad in pink tarlatan. They had been 
rehearsing the scene. I heard, for several weeks 
under the studio's ballet master. They went 
through their dance, rhythmically, gracefully, 
liut nobody applauded since nobody had been 
told to. 

AT three Colleen rushed on the set. her dark 
bob hidden beneath a wig of yellow curls. 
The atmosphere brightened. She is very ali^'e. 
She stood in. An electrician ran a steel tape 
down from the camera to where she stood, 
shouting the distance to Mr. Brabin. The 
cameras and lights were arranged accordingly, 
with one gigantic light centered directly on the 
star and following her ever\' move. The scene 
was called. Colleen jumped to her toes. The 
ballet danced out. The lovely, colorful act 
went through quickly. We extras applauded. 
The scene was shot three times. Colleen stood 
in for close-ups, for stills. Then the lights 
died. She waved her hand to Mr. Brabin and 
dashed away. We extras waited. 

Next to me sat a beautiful, synthetic blonde 
reading a confession magazine. 

"Don't extras ever talk or move about?" I 
asked her. amazed as forcibly as I had been the 
night before by the human stillness about me. 

She smiled. "You must be new," she said. 
"It's because we're hand-picked extras. After 
you get experienced, you learn to keep quiet. 
Directors don't want you stirring around or 
having ideas of your own. They're paid to do 
your thinking for you. Don't try to get oflf 
sets, or keep fussing about, if you want work. 
You only get yelled at if you do." 

She was exquisitely fragile. "Do you like 
this game?" I asked her. "Do you earn 
enough to live on? " 

She shrugged. "It gives me something to 
occupy my time." She looked at me very 
directly, searchingly. "I've got a heavy daddy 
and a sweet boy, too," she said, and went back 
to her confessions. 

My head was aching. I had smoked too 
many cigarettes. I felt very tired and untidy. 
The hairpins of the switch were biting my 
scalp. What on earth were we waiting for? 
How on earth could they stand it, sitting, sit- 
ting, day after day? 

There was a stirring over the crowd, word- 




131 



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less but real, like a zephyr going over a grain 
field. The blonde smiled. "'SLx o'clock," she 
xplained. "Overtime." Ever>' minute they 
keep us now they have to pay for. That means 
they'll begin hurrying." 

T^HEY did. The acts were rushed through. 
•'■ Seven o'clock. Ten names were called, 
mine among them. 

"You folks get your dinner and be back in 
half an hour." the assistant ordered. "You 
others are through.'' 

I was too tired to eat. I didn't want to go 
back on the " Twinkletoes " set, or any other 
set, that night. 

The studio restaurant was noisy. Flies 
buzzed over the cheap, cotton tablecloths, the 
hea\y dishes and coarse food. 

"Do they always work this way?" I asked 
the haggard woman sitting across the table 
from me. 

"Too often." she said. "About two months 
ago I got calls for eleven days and nights in 
succession. You don"t dare turn them down. 
They'd never forgive you. \\hen I got through 
that stretch I was sick three days. Then I 
didn't get a call for five weeks." 

"Your face is so familiar, somehow," I said. 

She smiled faintly. 

"You've probably heard of me," she said 
and told me her name. 

I am so poor an actress I couldn't hide the 
shock of it. Xot so long ago she was a famous 
leading woman. 

"Y'ou're wondering what happened to me.'' 
she said. "It wasn't any of the things you 
think, not liquor, or dope, or age. It was the 
fact I'm provident. I tried to save money 
w hen I was a leading woman. I got bad breaks 
in pictures. I sincerely belie\e it wasn't my 
fault, but bad stories and direction. ^Nly con- 
tract finished, I waited for another. I had my 
mother to support. Two months went by 
without work. I hated to exhaust my credit 
and the little money I had. An independent 
company sent for me, offering me bigger money 



than I'd ever earned. I didn't realize what I 
was doing, pla>ing leads on Sunset Boulevard. 

"Strange that street should be called Sun- 
set. It has been for so many of us, who at 
thirty are called "old timers." The hundred 
who do the casting, the little men of the big 
studios, never see such pictures. I worked 
steadily on Sunset Boulevard but elsewhere I 
was forgotten, 

" \V hen I realized what was happening. I tried 
to break my contract, but they forced mc to 
play it out. "When it was over I waited for a 
break at a regular studio. 

"Eight months and a second lead with a 
new star. The picture was killed in the can. 
A year, holding out for a second chance. It 
came, finally. Three weeks work. My mother 
died. In panic I accepted a small role at a 
proportionate salar>-. -^My final mistake. 
There's a caste system in Hollj^vood. It's 
safer to risk starving in your own set than to 
attempt rescue through a vague thing called 
art in the lower depths." 

She looked at her watch fixedh'. 

"It's seven-thirty." she said. 

\Ve went back to the set. The scene was a 
re-take outside a stage door. TuUy Marshall 
had to stagger, wild-eyed, out the doorway. 
Kenneth Harlan had to come along, shake 
some news out of Tulh" and rush away, pushing 
us extras from the sidewalk in his hurr>-. They 
shot the scene, several times, Marshall and 
Harlan going through the pantomime, gesture 
by similar gesture, each time without uttering 
a sound. 

npHEY dismissed us at midnight. I hadn't 
•'• the energy to remove my make-up. My cos- 
tume in the wardrobe, I walked wearily to wait 
in line before the cashier's window. S6.15 for 
the day with overtime. S.voo for the evening. 
Out of thirty hours I had worked a straight 
twenty- four. 

She who had been a leading woman was 
wailing. "Thought nraybe you'd like to ride 
in." she said, almost shyly. "I've got a Ford." 





Monte Blue is over six feet tall. And now the question is, how big 
is the furniture in this setting, that it makes Monte look like a 
pigmy? There is no camera trick about this illusion; the settings 
are actually built on an enormous scale to dwarf Monte's height. 
This scene is used in '"'"Woirs Clothing" 



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We were loo lired to lalk. Wc rattled along 
the deserted roads wordlessly. 

And that is what it really is to be an extra. 

Hollywood is no respecter of hours. Dan 
Kelly rang me up eight the next morning. 
"I can fix it for you at Central Casting," he 
promised. "Go talk to Dave Allen there. 
He'll give you some more work and some real 
dope." 

I could not get in to see Mr. .\llen until I 
produced credentials as a writer for Photo- 
play. 

Then everything was wide open. 

"I want your advice," Dave Allen said. 
**I've been in the casting business ever since 
movies began. I was head of Screen Ser\ice. 
the largest casting office existant until the in- 
corporation of Central. Now I literally don't 
know what to do. Do you think it would be 
kinder for this office to star\'e these unwanted 
extra people out, force them to face reahty. or 
to give them work whenever we can, if it's only 
once in sLx months? 

"We get a lot of criticism. We are accused 
of pla\*ing favorites. I assure you we don't. 
Here, actually, is what the boy or girl trying 
to break into movies is up against." 

TLTE moved over to a shelf of ledgers and 
-'■ ■'-showed me theactual classificationsof talent 
that Central uses. Here it is, just as I copied 
it, printed for the first time. In reading it. 
remember that under each of these headings 
several hundreds are listed. Think it over 
before you start for Holl>-wood. 

Blonde, Colored, Comedians, Character 
(Young), Dancers, Dress (Young), Dress 
(Middle Aged), Dress (Elderly), Exotic, Fat. 
Fencers, Ice Skaters, Jewish, Latin (\'oung). 
Latin (Middle Aged), Latin (Elderly), Long 
Haired, Maids, Posing, Stunts, Swimmers, 
Thin, Character (Middle Aged), Character 
(Elderly), Chinese, Cowboys, Dope Fiends. 
Tall, Toothless, Underworld, Uniformed, 
Waiters, Female Impersonators, Gamblers, 
Gendarmes, Hindoos, Indians, Jockeys, 
Make-up, Alexicans, Midgets. ]\Iusic, PoUce- 
men. Short, Acrobats, Animals (jMeaning 
actors who can play animals^ Bald Heads, 
Bell Hops, Beards and Butlers. 

It shocked me speechless, that listing. What 
good distinction when so many others are dis- 
tinguished? 

What good talent, when so many others are 
talented, several thousand times more people 
than there are jobs to be filled. 

'"Help me get the facts," I begged Dave 
Allen. "I want them for Photoplay to save 
just as man)' ambitious youngsters from heart- 
break as possible." 

"If you'll give up tr>'ing to break in your- 
self, I'll be glad to help you," Mr. Allen said. 

I agreed, of course. I was a little subdued by 
it. Between him and Dan Kelly, I had lost my 
bet, but the losing of it was going to get me 
knowledge and facts I never could have secured 
any other way. I'll tell you about them next 
month. 



The police records, the 
Chamber of Commerce 
records, more facts from 
Central Casting and the 
other side of Hollywood, 
the side of the successful 
stars. You will find all 
these in the concluding 
installment of Ruth Water- 
bury 's series in PHOTOPLAY 
for March. On the news- 
stands February 15th. 




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'34 



Photopl.\y Magazine — Advehtising Section 



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The Married Life of Doug and Mary 

[ CONTINfXD FROM PAGE $S 1 




vou would e!ci>ect from Charlie, the whim- 
sical, bitter, moody genius, who still believes in 
Peter Pan and Wendy. 

A man who has worked for Doug and Mary 
for years, told me something that Doug said 
one night as the two of them came out of a 
theater in Xew York, where they had been to 
see a play dealing with marriage. 

Doug was ver>' quiet for a little while, as 
they walked along Broadway. And then sud- 
denly he said, "But marriage should be you 
and your wife — and the rest of the world out- 
side." 

There is supreme wisdom in that, and the 
Fairbanks have put it into practice. 

They are the two most home-loving people I 
have ever known. 

They do not go out at all. They work and 
then they go home. 

Nothing in the world comes before their home 
to them. Nobody in the world comes before 
their consideration of each other. 

Their charity is a thing the world will never 
know anything about. Their kindness is a 
tradition in Holly\vood. 

THEY are in no way impregnated by the rest- 
lessness of the age. Their most cherished 
plans for an evening are to be at Pickfair, either 
alone or vrith a few close friends. To see them 
at a party is a rare occurrence, though they do 
go occasionally now. When two people work 
as hard as they do. there isn't much time left 
over. And these two have been strong enough 
to stand against the encroachments of the 
world, to refuse to allow themselves to be swept 
about in mere social "good times." They have 
built, as a bulwark for their marriage, an old- 
fashioned family life. 

The}' eat dinner alone together in their own 
home more frequently than they eat it any- 
where else. 

.\ woman writer who has kno^Ti them inti- 
mately from the day of their marriage and 
worked \%'ith both of them, once said: "They 
welcome into their home anybody they know 
and like. If a friend comes to Pickfair on a 
Sunday and peeks inside the gates and Mary 
and Doug see hi m , they will give him a welcome 
that will warm his heart. They will say ' Come 
in, come in,' to ever>-one. But if you try to 
say, 'Come out. come out,' they will shake 
their heads at you." 

-\11 of which, of course, is going back to the 
old and proven theon.'^ which has been too 
much abandoned in this country' today — that 
the home should be the center of life, the center 
of marriage. 

Mr. and Mrs. Douglas Fairbanks started 
with one great advantage — two great advan- 
tages. 

They were in love — beautifully, gloriously in 
love. 

And they were equals. 
It might have been difficult for many men to 
be the husband of ;Mar>' Pickford. Only a man 
who was a "king in his own right," as it were, 
would not have been overwhelmed by it. 

Only a woman who knew every angle of the 
problem of fame could have been the wife to 
Douglas Fairbanks that Mar>' Pickford has 
been. 

They have shared — share and share alike — 
in ever>"thing. 

I know that Mrs. Fairbanks, when she 
speaks of her marriage to friends, always re- 
joices that she and Douglas have so much in 
common. 

There is bound to be a tremendous s>Tnpa- 
thy between people who understand each 
other's work as those two do. 

.\nd yet they have been very, very wise in 
that they have kept their work separated. 
Their fortunes, their business affairs, their pro- 
ducing companies, are separate units. 



Dear old George Fawcett, the great charac- 
ter actor, who spends much time with them at 
Pickfair, said to me the other day, "They are 
united only in their married life, in spite of the 
fact that their work is so much alike. They 
haven't put unnecessar>' burdens on their mar- 
ried life. They have kept it as free for happi- 
ness as possible. They turn to each other for 
advice and comfort and strength, but they 
don't make their hours together a dumping 
ground for every inharmony and discord of the 
day. They think of those hours as their lime 
of joy and they tr>' to make them as happy as 
possible. They try to save each other from 
evcr>' form of distress, worry, disillusioimient, 
sorrow. 

"Mary's thought fulness and unselfishness 
are almost beyond human to ever\-body — but 
they reach their zenith where her husband is 
concerned. 

"I have spent a great deal of time with them. 
I have been with them under all sorts of condi- 
tions. .\nd I want to tell j^ou that never in my 
whole Ufe have I seen such courtesy and kind- 
ness as they show each other. I want to em- 
phasize that. 

'Their kindness to each other. 
"Their little acts of gentleness and considera- 
tion and service. 

"Their love for each other manifests itself 
in kindness." 

I wonder, myself, if we can overestimate the 
importance of that. 

Somewhere, I have had my attention called 
to how much of his time Jesus spent in just do- 
ing kind things. 

I wonder if that wouldn't solve more mar- 
riage problems than all the highfaluting psy- 
chological arguments and treatises in the 
world — just allowing love to manifest itself in 
kindness. 

I have said that it is, in many ways, an old- 
fashioned marriage. 

Let me give you an example. .\nd this little 
story was told to me by a titled EngUshwoman 
who was present. 

Mar>' Pickford has never danced with any 
man but her husband since she married Doug- 
las Fairbanks. 

When they were in England recently, they 
attended adance at a beautiful English home. 
Prince George, son of the King and Queen of 
England, was present, and he asked Mrs. Fair- 
banks to dance with him. 

Mrs. Fairbanks blushed exquisitely and said, 
"I thank your Highness, but I don't dance." 
The Prince was naturally amazed. "Don't 
dance?" said he. 

The lady who told me the story said there 
was never anything sweeter than Jlrs. Fair- 
banks' confusion. "Well," said she, "I do and 
I don't." 

His Highness was more amazed and con- 
fused than ever. "You do and you don't?" he 
repeated. 

MRS. FAIRB.\NKS raised her eyes to his 
then, and said with a simple dignity that 
was quite regal in itself. 

"You see I have never danced with anyone 
but my husband." 

The lady said she had never seen Prince 
George so pleased. He made a most elaborate 
bow and congratulated her upon such a stand 
and told her he thought it was a beautiful idea. 
And evidently he told his brother, the Prince of 
Wales, who is famed for his tact and diplomacy, 
because the Prince of Wales didn't ask her to 
dance; he just sat and talked with this old- 
fashioned wile, Mar>' Pickford Fairbanks. 

I remember being at the studio while Miss 
Pickford was making "Sparrows." Every- 
body thought she should double-expose the 
scenes where she crossed above the alligators — 
everybody but iliss Pickford and the director. 



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